If i were a man i'd want to be either Idris Elba or Garnet Hertz. You know Elba, he was gangster Stringer Bell in The Wire and a detective in Luther. Now Garnet Hertz is neither of that (to my knowledge) but he's the guy everybody wants to talk to at media art, tech or design conferences because his works play with several levels of engagement: from instant entertainment to deep reflection on DIY culture, design processes and technological progress. Hertz makes robots controlled by cockroaches, video game systems that you can literally drive around, he gives talks about Zombie Media and has just crafted a magazine about critical technical practice and critically-engaged maker culture that puts us all (us being media people) to shame.
And now for a more rigorous bio of the artist:
Doctor Garnet Hertz is a Fulbright Scholar and contemporary artist whose work explores themes of technological progress, innovation, do-it-yourself culture and interdisciplinarity. His work often involves building real-world technologies that are designed to take his audience into a speculative future gone humorously astray. In the process, Hertz's work inverts the idea that technology needs to be faster, more efficient or higher resolution: innovation is born out of human emotion, historical tradition, and creative obsession.
Hertz is Co-Director of the Values in Design Lab at UC Irvine, is Artist in Residence / Research Scientist in Informatics at UC Irvine and is Faculty in the Media Design Program at Art Center College of Design.
Hi Garnet! I'm very intrigued by Videodome. Can you explain us what the experience of using it will be like? Can the person whose head is inside the big helmet move around? What will he or she perceive and how? And is what they see broadcast in any way to a broader audience?
Videodome is a project that I'm developing that explores different types of virtual reality without the use of a computer. Instead of a computer, I'm using a large number of miniature "spy" videocameras connected to many televisions. At this point, the project has two main physical structures: a helmet-like globe containing the cameras and a two meter diameter geodesic dome covered in televisions. These two components will be configured in different ways -with inner-and-outer facing cameras and screens, for example- to creatively explore the process of mediated sensation, perception and reality.
The initial configuration simulates being inside of someone else's head. To do this, I've constructed a wearable panopticon-style helmet - a clear plastic globe with a diameter of 45cm that has 48 cameras that face inward toward the person's head. Each camera is connected with cables to a flat panel television, and the group of televisions are arranged in a dome with screens facing inward. The screens form a low-tech VR-style cave that show the person's face turned inside-out.
At this point, this project is local and live with no transmission or recording - it's goal is to be analog. If I was going to do recordings of the camera array, it might be fun to try to do it with a mountain of VHS VCRs.
A major theme in my work is the exploration of inefficiencies and intentionally doing things the wrong way, and I have a recurring interest in poking fun at virtual reality. I love graceful kludges, rural folk machinery, and chindogu, and building Videodome is like trying to build a realtime immersive imaging system with parts that don't cost more than $10.
From a technical perspective, the project is a RAID - a redundant array of inexpensive devices - and is easy to reconfigure. It's just a $10 camera, a cable, and an old television multiplied many times. The cameras can be positioned to face outward on the helmet, or the camera cluster can be put on a dog or a tree - or the televisions can be arranged on a floor, in different shapes or on the side of a building. For me, it's a return to the spirit of video installation artists like Dan Graham or Nam June Paik when the format of video still had a sense of technological magic.
When my sons (aged 7 and 9) first played with a typewriter, their perception of it is that it was a very fast computer that instantly printed letters as fast as you typed them. And - if you think about it from the perspective of the time it takes between hitting a keystroke and when the letter is rendered on paper - the typewriter beats a supercomputer every time. In a similar way, an analog video camera is like a streaming video server with zero lag - typewriters, analog video cameras and other devices from media history are still very high performance and interactive devices in their own limited ways. The project is aimed at exploiting the high performance component of an old technology - it's a bit of a novelty at a time where digital cameras are thickly layered in technical infrastructure. You just plug an analog camera and it's instantly streaming video, although your network is only as long as your video cable.
The project is influenced by a few projects, especially Michael Maranda's Sphereorama (1991), Kenji Kawakami's 360' Panorama Camera (1995), and Hyungkoo Lee's Objectuals (2002) - and the idea to use a mountain of cheap cameras initially came from my friend Jason Torchinsky. It's scheduled to premiere in San Jose at an exhibition that Madeline Schwartzman is curating related to her book "See Yourself Sensing". The piece is not in the book, but I'm very happy the project is included in the show - in my opinion her book is the most brilliant contemporary art books I've seen in a long time.
Judging by the reaction the project OutRun received in gaming, gadget, vehicle blogs and magazines, have you ever thought of modifying the work and giving it a commercial existence, making it something that rich kids could buy?
The original car is actually for sale, but it's priced at $100,000 - so it would take a very rich kid to purchase it. I've floated the idea of purchasing the original car to a few obscenely rich people like Jay Leno but as of right now it's still for sale. There was a glimmer of hope when the billionaire owner of Lego, Kjeld Kirk Kristiansen, drove the original project in Denmark. He clearly had a lot of fun driving the project - and he had the money to pay to replace anything he crashed into - but I don't think he thought I was serious when I proposed to trade him for one of his Ferraris.
I generally don't pursue the monetization or commercialization of my projects - I tend to enjoy focusing on research and the exploratory prototyping phases of technological development. At this point I'm comfortably paid to do my artwork, so I'd rather spend my time focusing on building new projects.
That said, if anybody is interested in the original vehicle or working on porting the concept into a more commercially viable platform, I'm open to ideas.
And more generally, have you ever been tempted to work more closely with the gaming industry or any other industry? Surely they'd welcome creative people like you?
I used to work in the design industry through advertising agencies, film production houses, and by doing product prototyping, and at that time my slogan for much that work was "Making Your Shitty Idea a Reality". There were a few exceptions of situations where you have a blank slate and a blank check that I found enjoyable, but for the most part I've found it uninspiring.
There are significant exceptions to this - I think of Julian Bleecker at Nokia for example - I think there's a lot of room in research positions that might be rewarding. It also may be that most of my experience in industry was in the 1990s when I had a thinner portfolio and CV; maybe there are a lot of places that would be a good fit.
I generally like the quirks of the art world and academia; I usually find my colleagues in these environments to be interesting, intelligent and strange in a fun way. Both of my current appointments - full time at UC Irvine in Informatics and part time at Art Center in Media Design - are great because of the people and the projects they're working on. Paul Dourish, Gillian Hayes, Don Patterson, Geof Bowker, Anne Burdick, Tim Durfee, Ben Hooker, Chris Csikszentmihalyi and everybody else I work with - they're all brilliant and fun to be around. And for now I generally get to do whatever I want, so I can't complain.
You wrote in your statement page: "I believe that industry and academia often draw false distinctions between experts and amateurs, hardware and software, mind and body, and science and creativity, and my goal is to meld these polarities in the projects I develop. Many of our greatest social challenges and technological opportunities now lie in these connection points." How can experts / amateurs connection lead to technological opportunities? Also what can experts learn from amateurs?
I'm interested in leveraging DIY, hackerspace and amateur cultures for a number of reasons. I believe that innovation and breakthroughs happen when individuals go beyond their standard frames of reference and discipline to learn new skills on their own: breakthroughs often require us to become amateurs in a new field, in other words. During the process of learning new things, we often cobble together materials, figure things out informally, and explore things on our own. For this reason, DIY culture and doing things in nonstandard or non-expert ways are useful models for how innovation is done.
I've also seen a significant cultural surge toward DIY electronics, physical computing, and hands-on "making" over the last decade. The turn toward physical making is partly due to people being tired of mass produced consumer Walmart culture - they're tired of having disposable, spiritless and generic junk. DIY electronics is also partially in response against the trend of conceiving information and knowledge as virtual things. Platforms like the Arduino - which started out filling a niche within the physical computing community - has grown to be quite widely implemented in multiple fields of design.
I also think that higher education has become increasingly detached from physical objects. I think that this is a mistake: I believe that innovation and education needs to be engaged with the real world, get dirt under its fingernails, and learn the skill of working hard at problems that are often ambiguous. Universities needs to combine hands-on construction and skill with advanced knowledge and concepts in order to effectively innovate in research - and for workforce development.
If i understood correctly, the hand-made zine on critically-engaged making were printed in only 300 copies and given out for free. i do suspect that far more than 300 people would love to get their hands on it. Most would even be happy to pay for it. The content is brilliant, so is the format. Are you planning to change the distribution model?
Yes - the project is called Critical Making and I the documentation for the project is at http://conceptlab.com/criticalmaking/. There's been an outpouring of interest in expanding this project and there are clearly a lot of people involved in DIY or maker communities that don't fit into the "family-friendly kit-based weekend-project" focus of Make Magazine. The initial idea was to do an actual photocopied zine with a bunch of people I admire and to give it away for free - although this has become a much bigger project with almost 350 pages of content from about 60 contributors. It's nicely grown into a pack of zines, a little like Ginko Press's "McLuhan Unbound" project.
I'm still going to give the 300 copies away for free - and I'm making a special edition for the contributors - but I haven't yet determined what to do after my initial run. I'm currently talking to some different people and presses, and I'm open to ideas.
At this point, I'm not inclined to just slap an open source license on the content and put a PDF of it online. I'd ideally like the project as only available as a photocopied object that somebody hand produced - but I realize that this may not be practical. I'd consider an academic or art press, distributing it through the contributors, or returning to a zine model of people sending cash in an envelope to an address.
There's an interesting push against electronic books happening - instead of the format of physical books dying, there's a fresh crop of bookmaking work that fetishizes the physical page. I wouldn't term it as a "zombification" of books, but a useful opportunity to rethink what physical components of a book are valuable.
For my Critical Making project, if people want copies or are interested in this as a publishing/distribution project, let me know. I'll send you a copy too, Régine - but the contents of this collection of zines is a whole other conversation... we should talk about it after I've shipped them off.
One of my favourite projects on your homepage must be the customized taco (food) truck that would go around communities and give D.I.Y. laboratory for circuit bending. Is it going to happen soon?
This project, with an official title of Repurposing Obsolescence: Teaching DIY Science, Technology and Engineering Practices to Adolescents in Underserved Communities, will design, develop and test Do-It-Yourself (DIY) hands-on workshops to introduce and teach middle school kids in underserved communities technology and design by customizing and repurposing e-waste technology, like old electronic toys. Right now the major outcome of the project will be the creation of a workshop kit that covers the processes of learning DIY electronics for distribution to after school programs and other informal educational venues.
My team has implemented a number of pilot projects over the last three years that demonstrate the ability of hands-on DIY electronics curricula to motivate and encourage students and to enable them to acquire a deeper understanding of core engineering, mathematics and science concepts by introducing creative and artistic use of circuit bending,ì the creative short circuiting of electronic devices that make sound.
I'm interested in extending maker culture into different environments, and I think the approach is useful in getting kids interested in learning about how things work. In this project, I'm particularly interested in reaching out to communities that normally wouldn't have the resources in their schools to explore art or electronics. Sadly, California has a growing list of schools that have slashed art or any items that aren't part of the standardized test structure. Hands-on education - with shop, woodworking and art classes - have been removed from most schools. This is doing an incredible disservice to kids, and it's especially bad in communities that don't have a lot of resources. It's not teaching people how to think, be creative or holistic problem solving - it's teaching people how to memorize things to get a high score on a test.
I think circuit bending is a great antithesis to a standardized test. It doesn't have one right answer. It uses your hands. It makes noise and can be dangerous. It can be very simple or incredibly complicated. It involves genuine exploration and discovery. In a nutshell, I think it's a better model for how life works than a test on paper, and I think the United States would be a better place and have a more skilled and creative workforce (and more interesting artwork) if more kids were taught things like circuit bending at an early age. The scientific hypothesis of the project is that this approach will lower barriers to experimenting with custom-built electronic instruments and lead to greater participation and success of people pursuing secondary education.
So, my challenge in this project is to develop hands-on workshops, kits and curriculum that work within the educational system of the United States, or at least Southern California. I also want it to work for people with English as a second language, and as a result have translated prototypes of the curriculum into Spanish, Chinese, Korean and French - but within Southern California, Spanish is my main focus.
My vision is to extend this work through the development of a mobile D.I.Y. laboratory to more easily bring our specialized infrastructure to underserved communities. In other words, have a vehicle that acts as a "bookmobile" to bring specialized resources to groups and communities that lack educational infrastructure. The initial idea for this "makermobile" would be to have it in the form of a customized taco (food) truck, a common component of Los Angeles and Orange County culture. This vehicle would transport workshop mentors and specialized tools and would serve as a public platform to disseminate the workshop materials. I've envisioned that the vehicle would need to be really cool - with lowrider hydraulic suspension, nice rims, and a cool paint job - as a form of propaganda to get kids excited.
I've recently got funding to develop the curriculum and hardware component of this project, but I don't yet have funding to buy a vehicle. As it turns out, purchasing a vehicle through a university or research funds is usually problematic - it doesn't fit into the standard categories of research equipment, especially a pimped out lowrider taco truck.
Do you think schools, and education in general, isn't doing enough to make young people 'techno-literate'?
I think kids generally get quite a bit of informal education around technology using computers, mobile phones or iPads at home. What they're missing is the opportunities to open up and learn about the mechanics of what's inside of the black boxes of technology, to go beyond a consumer of the technology. I want kids to move beyond downloading a game off of the Apple App Store - that's not technical literacy, it's just another format of consumption.
You are Co-Director of the Values in Design Lab at UC Irvine with Geof Bowker, Cory Knobel and Judith Gregory. The objective of the lab is to blend "rich social theory with design practice in order to produce information systems and technology imbued with strong social and ethical values." Which kind of works are you developing in the Lab? Do you have some examples of projects that represent particularly well what the students are working on there?
Actually, within the last couple weeks this lab name has changed to "EVOKE" - Emerging Values, Ontologies, and Knowledge Expression - we're working on a number of different things, including a Values in Design workshop for doctoral students.
At this point we're still getting the lab set up, but we're interested in infrastructure, ontologies, values, big data, making, and how knowledge is formed and communicated. It's an intentionally big mix of topics that doesn't neatly fit into the format of something like a TED talk. I see the lab like a research group or design initiative, perhaps like a smaller version of the MIT Media Lab, that work on investigating complex issues, building prototypes and solving problems built on a foundation of serious social theory.
We have a lot of projects going on, including researching new forms of scholarship that move beyond linear texts, design by youth, and work that encompasses biomedical informatics. The first project that we completed at UC Irvine during summer 2012 was a design workshop for doctoral students, titled "Values in Design". Our mission in this project was to train researchers in a broad range of disciplines - including Informatics, Computer Science, Design and Science and Technology Studies - to produce new forms of information systems and technologies which express strong social and ethical values. It ran over the course of a week, and the format was a little bit like Project Runway - with teams designing technology prototypes - and an academic conference with guest speakers lecturing on design-oriented topics. It was a lot of fun.
Within the different projects through EVOKE, I'm primarily interested in making physical prototypes of complex concepts: I'm focused on what art can do to actually extend and add to research and science.
I hope you won't mind if i say this but you're an established artist. You're also teaching and holding academic positions. Could you point us to young, emerging artists whose work we should be paying more attention to? Either students or yours or just people whose work you stumbled upon online or at a Dorkbot meeting?
I have some student work that I'm very proud of, especially my graduate students coming out of Media Design Practices at Art Center. My favorite projects over the last little while are:
- Chiao Wei Ho, Slow Letter (2012). "The design of Slow Letter is based on the concept of Process-based Interaction which focuses on the process instead of the task itself. It is my challenge to the instantaneous interaction of user-centered design. It questions the essentiality of instantaneity and convenience in current digital service. What would the interaction be like when time and space are being elongated? We all have experienced the satisfaction of these digital devices around us, it can take us from point A to point B within no time. However, Slow Letter tends to discover alternative values outside of task-orientated interactions. The project reevaluates the weight of our words in the digital communication by elongates the process between point A to point B. It transforms instantaneity into emotional values and inject unconventional perspectives into the numbed daily routine."
- Alex Braidwood: Noisolation Headphones (2011). You've written about these at http://we-make-money-not-art.com/archives/2011/10/the-noisolation-headphones.php - since you wrote that article an updated video of the project is here:
- Hyun Ju Yang: Measurement of Existence (2010). "This hypothetical device informs your quantum state within innumerable versions of our universe in the quantum state of the universe. The main idea is inspired by an equation, the measurement of existence from the relative quantum mechanics created by physicist, Everett who invented Many-World theory."
Black Dog Publishing writes: Material Matters: New Materials in Design discusses the vast range of materials that are available to us today, and highlights the advances predicted to prove seminal in the future. The six chapters are divided by chemical composition--Metals, Glasses, Ceramics, Polymers, Composites and material Futures--and with every material featured, the book stresses the relevance of physical material properties.
Each material featured is presented with relevant manufacturer information, material properties and current and potential applications and includes the websites of manufacturers and research institutes, making this a handy reference book for the designer. Material examples include the newly developed metallic 'microlattice', now the lightest solid known on earth; Dow Corning's 'Deflexion', a fabric capable of instantly hardening and Graphene, a material which, at 200 times the strength of structural steel despite being only one atom thick, has the potential to revolutionise the field of electronics.
Philip Howes, Materials Scientist and Zoe Laughlin, Creative Director of The Institute of Making, provide explanations of the basic chemical structure of materials--what makes a glass a glass and why not all polymers are plastics. Their discussion of the potentialities of new materials embraces disciplines as disparate as aerospace engineering and medical research, in addition to offering explanations to everyday material conundrums.
Microscopic glass flakes, Blood Lab-On-A-Stick, piezoelectric ceramics, Catalytic Clothing (clothes that purify the air around), noise-absorbing ceramic, titanium foam, antimicrobial copper, instantly-hardening fabric, light-reflecting concrete, self-healing concrete, soft magnets, self-cleaning glass, etc. And i had no idea that bullet-proof vests contained ceramic.
There is nothing arid nor soporific about new materials.
The authors of the book handpicked some of the most surprising new materials. Their look sometimes belies their nature, their names often verge on the oxymoron and their applications have only just started to be explored. Most materials are allocated one page in the book but some of them are illustrated further with a spotlight on a 'case study' that describes designers, architects and engineers' most innovative uses of materials: from largest optical/near infrared telescope to shape-changing architecture.
The text is as techy as necessary to explain clearly the physical properties and latest applications of each innovation but you don't require a degree in engineering to follow along.
Material Matters: New Materials in Design doesn't pretend to be the bible of all materials, the ultimate encyclopedia but it does fulfill competently its ambition to be a source of inspiration for designers and artists.
Soft Circuits or "epidermal electronic system" (EES) is an ultrathin, electronic circuit applied on the skin. It can stretch, flex, and twist and take input from the movements of your body.
Jólan van der Wiel lets magnetic fields and the force of gravity shape its stools. A mix of iron and plastic is layered between strong magnets that pull the material into unique designs.
Doris Kim Sung's Bloom installation demonstrates the properties of thermobimetal, a thermally responsive metal surface, which reacts to both the change in temperature and direct solar radiation. When the temperature of the metal is cool, the surface appears as a solid object, but once the afternoon heat penetrates the metal, the panels of custom woven bimetal will adjust and fan out to allow airflow and increase shade potential.
Stardust are made from dust that pre-existed the Sun. The interstellar samples were collected by astronauts in 1999. Scientists stored the stardust in Aerogel because its extremely light structure and thermally-insulating properties ensure that the particles are not damaged after being embedded inside the spongy interior.
Bare is a temporary conductive ink that can be sprayed or brushed directly onto the skin to create custom electronic circuitry. This innovative material allows users to interact with electronics through gesture, movement and touch.
Mushroom Packaging as a 100% biodegradable alternative to polystyrene (Styrofoam) packaging.
Ferrofluid, or magnetic liquid, is composed of ferrous nanoparticles suspended in a liquid.
Matthew Szösz blows air between pieces of fused discarded window glass.
Under Black Carpets, Ilona Gaynor's new project, works with police reconstructions, cinematic culture and with 'Forensic Aesthetics' to design the perfect bank robbery. And i don't know how she did it but she managed to get the FBI New York Dept of Justice and the LAPD Archival Department on board as advisors to her study.
Some legal, political and cultural fields have recently seen a shift from human testimony to material forensics. DNA samples, 3D scans, nano-technology, electro-magnetic microscopes, satellite surveillance and other scientific methods or instruments have started to play a key role in police investigations, political decisions and court room deliberations. Retinal scans, biological remains, landscape topographies and other forensic materials communicate to the judicial system. Just like human witnesses, they come with their own rhetoric of persuasion. Eyal Weizman called it Forensic Aesthetics.
Under Black Carpets is at this stage an early study that will be part of a larger project currently under development. Under Black Carpets presents a meticulous deconstruction of several bank heists simultaneously occurring in downtown Los Angeles, focusing specifically on 5 different banks that centre One Wilshire. The work presents itself as site-specific forensic study. A spatial tool accompanied by a kit of parts, presented as a dense numerical index. Each artifact is individually numbered, assuming the role of the protagonist within the collection and pin-points its own whereabouts on a grid of vertical and horizontal geographical coordinates. The viewer is invited to examine and cross-reference this collection, allowing ones own constructed interpretation of the event as it unfolds from muiltiple, distorted perspectives.
At this point, i needed to pause in my lecture of the description of the project and asked her to tell us more about Under Black Carpets:
Your project is developed in collaboration with the FBI New York Dept of Justice and the LAPD Archival Department. How easy is it to work with them? Who are you working with, i'm not asking for names necessarily, but i'd like to get an idea of the type of person these Department would delegate to work with an artist. Are they scientists working in forensics? Members of their press team?
Firstly, I normally approach my research from a great distance to the subject, but I felt with this particular project, it wasn't going to be quite as effective without actually engaging with the scenarios I wanted to explore.
I wanted to get into the mind-set of what it takes to become a Police officer or 'Cop', so I spent a lot of time at the LAPD Police Academy, watching Police engage in intense training: learning how to drive cars in chase simulations, fire guns and partake in classes reciting American Law and its policies. But furthermore, I spent a lot of time in the Police canteen listening to everyday conversations, which led to me buying a copy of So you want to be a cop: what it takes to serve by Scott Butler and Police bible Pocket Partner by Evers, Miller, Glover and Glover - which is global emergency management manual, carried by United States police officers of all ranks and members of the US government. These books describe in detail precise procedures and policies, coupled with a philosophical mindset of what it takes to serve. I mention this, because it's the dialogue I had within the academy which led to working relationship with the justice department.
I spent sometime with detectives and ex Special Agents in the Bureau's Bank Robbery/Kidnapping/Extortion Dept in New York City, which was actually more of a connection made with my previous work. I attended various meetings and demonstrations with scientists, but not really with biochemists like you would expect in archetypal representations of forensic science, but more with spatial experts and computational homicide scientists. People who examine areas like post-impact ballistics, vessel trajectories and object reassembly.
To put their interest in the project into context If you read any book on heists or homicide published in last 10 years like Where the Money Is: True Tales from the Bank Robbery Capital of the World by Gordon Dillo and William J. Rehder, you will find that every book you come across will have been written by retired FBI agents or an ex-detectives who had worked on the cases cited in the book. The texts are framed (accidentally or not) as a form of nostalgia, not necessarily for documentation or research purposes, but for pleasure. Whilst reading you could even imagine them holding a cup of black filter coffee with a gun lying next to them on their bedside table, they are so personal.
Interestingly enough, they are mostly anecdotal. There are very little facts or figures cited, but more focused on memories and one-liners. As such they are delightful people and splendidly macabre.
I'm curious about the title of the project: why "Under Black Carpets"? It makes me think of something sinister that has to be hidden...
The title is sinister. It refers to the act and image of stealing. In old cartoons such as Tom and Jerry, Tom the cat would enter the room and slip underneath the carpets, as to sneak upon the mouse (Jerry) in doing this, displaying a huge moving bulge (often cat shaped) that would continually hit furniture and objects in the room because he couldn't see where he was going - alerting Jerry the mouse as to his whereabouts, rendering the espionage futile, but hilarious. Law enforcement bodies are often portrayed in crime cinema as clumsy, often with plans turning sour, foiled by seemingly petty rules and orders given by superiors by act of protocol. The protagonist hero is often a rogue cop who dismisses the rules and catches the criminal. The black carpet; refers to the archetypal colours found in banks, federal buildings and financer's offices. It's also meant to indicate a spatial aspect to the project.
Your project deals with the aesthetic dimension of forensics, a science said to have taken over 'the era of the witness' in legal systems. How much faith do you have in forensics now that you've studied it from up close (well, at least closer than most of us)? Is this science as indefectible as tv series would like us to believe?
Forensic science has blurred a previously held distinction: between evidence, when the law speaks of objects, and that of the witness, referring to subjects, forensics has become something in-between. TV dramas such as CSI in the US and Silent Witness in the UK, really are as accurately based on reality as entertainment would permit- they exist in a world of simulations, computer based conjecture and biologically stained rags in test tubes. Forensics however isn't strictly lab based nor does it always deal with bio-chemistry as I've mentioned previously, that's very much not the case, that plays a significantly small role. And it also very much depends on the nature of the crime and where the crime happened. US crime tends to be more exaggerated and extreme, due to the very nature or culture in which people live, especially in Los Angeles. The crime cases publicized, tend to be lot more spectacular then crimes committed in Britain, of course that's stating the obvious, however I honestly believe that it's related to the cinematic culture, of which we just simply don't have the ability, or want to record and transmit news cinematically. Of course why would we?
Michael Mann's film Heat (1995) was a film shot in downtown LA, with the most notably 'realistic' loud gunplay scene in cinematic history to date. It's cold, blunt and incredibly violent. But what's interesting about that scene is that it became the basis and inspiration for a very real event that happened in LA a few years later, an event dubbed The North Hollywood Shootout I watched repeatedly the news footage from the North Hollywood Shootout and Heat and found that in comparison after repeatedly viewing it intensely, I decided that actually Mann's Heat was far more realistic.
I don't believe anything is infallible, people by nature are cunning and will always find a way to subvert and distort the truth. Even scientific evidence takes form, as rhetoric by the very nature in which is it presented, monopolized or industrialized. I'm not saying that forensic science is inaccurate but it's the way in which we construct or curate the evidence is what makes it key. There have been many miscarriages of justice, with many serious crimes going unsolved. A juridical verdict is a legal argument. The end is not normally the 'truth' of 'what happened', but one of convincing conjecture, which makes it's dimension beautifully fascinating and deadly.
With such a shift on the emphasis of forensics referring back to taking over the 'the era of the witness', I think has left the Police putting too much faith in forensic science, particularly in that of biology, so much so that they have begun to ignore human instinct and intuition, because the definition of truth and reality has never been so unclear.
But then again maybe I'm simply too much of a purist fan of film noir and crime literature.
Could you also explain the part played by 'forensic aesthetics' in your project?
'Forensic Aesthetics' a term coined by Dr Eyal Weizman at the Department of Visual Cultures at Goldsmiths University. It was an idea that was originally used in an architectural context and was called Forensic Architecture. The idea of using objects to form an argument, as a narration in the absence of actuary evidence is now being openly discussed at various law schools in the US as a mode of future legal practice, which is very exciting! The term is very much at the heart of this project or at least in the research. My project comes into play whereby, I would like to use this theory and expand on the research as a platform to initiate 'it' as a mode of design, by giving it form and materiality. Weizman talks about it the broad context of human rights, of course those are important, but my angle is for pleasure, aesthetic speculation and fantasy. Imagine an architectural model - a designed space accompanied by designed artifacts being wheeled into a courtroom and brought up for questioning almost to fulfill the role of the 'witness' as evidence. Design can become something to examine, question and decipher through legal channels.
It's very interesting to me to relentlessly construct narratives from traces that were left over from a traumatic or chaotic event, even if you are stitching together empty spaces that seem impossible and too abstract. The documentation of everyday detail in the construction of archives of clues and cases creates a great pool for crafting hybrid fictions and competing perceptions - a world of secret lives, lies and stories.
Under Black Carpets presents a meticulous deconstruction of several bank heists simultaneously occurring in downtown Los Angeles, focusing specifically on 5 different banks that centre One Wilshire. What are these banks?
The banks are: Bank of America, Mellon Bank, City National Bank, US Bank and Wells Fargo. These were chosen because of their geographic proximity to One Wilshire and precise distance from the LAPD headquarters in downtown LA. The narrative proceeds, a false plane collision with the 30th floor of One Wilshire, as a ruse. One Wilshire is an infamous centralized carrier hotel. It provides half of the worlds connection to the internet; currently it connects: China, Korea, the USA, east Russia and parts of Europe, directing anything toward One Wilshire would attract much attention. The surrounding street block formation would centralize Police, harboring them in one place due to the precise vertical heights of the buildings and the dense geography of those particular blocks. The visual transparency from the ground is also extremely limited. The architecture is positioned in such a way, that staging particular events or moments could be hidden from view behind protruding floors, light refractions from the mirrored glass and thick palm tree heads. Some of the streets are also impossible for helicopters to circulate and enter, however every flat rooftop has its own helipad by state law in that area.
What will be the purpose of the deconstruction? To design the perfect bank robbery?
Yes. Exactly that. My intention is design the perfect heist. A counter measure to anticipated police reactions based on this research. But not presented as projection like a pre-planned, straight-up plot, but one told through hindsight. Using aesthetics and material form to frame the narrative as an investigation, an archive of evidence for the purpose of constructing, a legal argument.
Finally, what shape does the project take: the project page has models but do you also plan to add 3D renderings? video? essays?
This project is simply a study - a deconstruction for the purpose of seeing something from a birds-eye view (not literally) but a plot device to experiment with. This first part was completed whilst I was the summer research resident at Art Center College of Design in Pasadena. The final project will take the form of artifacts, large scale engineered mechanical devices, architectural physical studies, speculative tools and materials. There will be films - my aim is to shoot Police reconstructions of what they assumed to have happened. There's a lot to do!
A book or research will also accompany the project, a series of essays and collated documents curated and co-written by Geoff Manaugh (BLDGBLOG) and myself.
The final work will go into an exhibition on display next year at the Lisbon Architecture Triennale, it will be showing in an unused bank vault comprising of 6 rooms in September 2013.
You might not be aware of it because i try to behave like a lady on my blog but I've spent the past couple of years shouting over the rooftops of the city that nothing bores me more than an exhibition of industrial, product or interaction design. Well, i've shouted too fast and too loud because last Wednesday i saw this brilliant exhibition called The Machine - Designing a New Industrial Revolution and suddenly, design became exciting again for me.
As befits the title, the show takes place on the site of an ex-coal mine in Genk, in the Belgian Limburg mining region. But instead of focusing on the industrial revolution, the exhibition champions the current revolution in digital production
'The Machine' is indeed a metaphor for the machinery deployed by designers who appropriate tools, material and systems and use them to help shape the future of production, consumption and more generally our relation to goods.
This new, and almost domestic machinery is exhibited among the impressive historical machines of the ex-coal mine. The work of the young designers both acknowledges and contrasts with the historical setting. The dark, heavy and now silent machines serve as a dramatic set for the exhibition, with Pantone Process Cyan hanging like the blue 'key' screen used in the cinema industry.
The industrial revolution was a revolution for engineers. Now designers are at the forefront of a new revolution. They are part of networks that enable them to develop new materials and systems, build their own machines, and seek new tools for production and distribution. These developments offer an alternative to mass production and open paths to a new economy and society.
By making production processes more transparent, designers demonstrate that production doesn't have to be completely disconnected from the consumption.
In an interview for the catalogue of the exhibition (which you can and should download), Jan Boelen, the curator of The Machine as well as the artistic director of Z33 explains: "The physical object is yours, but the information is shared between everybody. Making this exhibition demonstrates the hope that things can really change.That on the ruins here in Genk or even in Detroit, things can change because people take control and start doing things by themselves."
Juan Montero Valdes's All I Want to do is Make Some Money does literally what you're already suspecting: the work replicates, on a domestic scale, the industrial process used to make dollar bills. Following the designer's set of instructions and using only domestic appliances, anyone can print money at home.
All I Want to do is Make Some Money is part of 'Hacking Hope', a wider project that attempts to highlight the possible decentralisation of our current means of production by utilising the untapped potential of the many household appliances and machines we amass at home. From the tv set to the toaster or the printer, most of these devices often has only one function. Montero Valdés's project taps into the mass potential of these machines, forcing them to collaborate with each other or adopt new roles.
These spiders might produce the most spectacularly golden silk, but they are also territorial and may cannibalize each other if they are kept too close to each other. Maincent's answer to the challenge is to build a high-rise indoor farm that gives spiders enough space to live until they're guided to a "milking" area that coaxes the spiders to produce silk for human use.
Each page describes one step in the rise and fall of the typewriter. It provides hand drawn illustrations of each specific model of typewriter and describes its peculiarities and also the reason for its demise. The catalogue ends in April 2011 with the closing of the last manual typewriter factory in Mumbai, India. The catalogue is typeset using a typewriter and a specially designed typewriter generated display font.
Thomas Vailly used human hair as the main material for a set of cups. The hair melts into a type of bioplastic resembling leather when mixed with glycerine and sodium sulphite. The designer sees this new polymer as a 'vanitas still life' that might revolt us but also invites us to consider the natural process of deterioration as well as the realistic options for the creation of new materials.
Katharina Mischer and Thomas Traxler from Studio Mischer'Traxler
The Idea of a Tree explores the relationship between machines and the natural environment. The installation constructs an object that documents its own production by expressing the amount of solar energy harnessed during a 24-hour period. When activated the machine uses threads to construct an object, with the colour depicting the intensity of sunlight.
The duo is also exhibiting Collective Works, a device that works on a similar principle. The machine manufactures a basket, but only if it is being observed. Production is activated by the physical presence of a viewing audience, with the colour of the wooden veneer-strip getting darker as more people gather around the device. Each basket bears the unique traces of the interest in its own fabrication.
According to Studio Mischer'Traxler, Collective Works attempts to question the relationships between man and machine, with the spectators transformed into 'workers' - observation becomes labour.
For Tal Erez, new production methods construct new socio-political systems. From the development of guilds in the Middle Age's to the labour unions of the 20th century, workers have always influenced political power. Erez's project questions the demise of the workers voice and proposes ways to reinstate it within our post-Fordist society. '(Waiting for) the People' is a set of 14 protest signs that call for change. The recto of each sign bears an image that hints at a possible future, where the home has become the site of production thanks to a wider availability of 3D printers. The verso shows a documentary image that depicts a workers' protest from the industrial era - proposing a link between production methods and socio-political change.
Each project in the exhibition deserves a post of its own or at least a mention in this one but you can read about the other works exhibited in the catalogue. It is available for download from the press area.
More images from the show:
The Machine - Designing a New Industrial Revolution remains open at C-mine Designcentrum, in Genk, Belgium until 07.10.2012.
As i mentioned a few days ago, the Barltett's student show is one of my favourite events of the Summer in London. It is however so overwhelming and turbulent that you need dedication and pure chance to spot the works that might interest you the most.
I'm glad my Bartlett expedition led me to The Theatre of Synthetic Realities.
The project, authored by architectural designer Madhav Kidao, is miles away from what you'd expect from an architecture work. No model, no plan. In fact, it rather looks like an essay made of photos, short videos and texts. Together, they reflect on immoral architecture, unsympathetic machines, reality filtered by artificiality and more generally, our symbiotic relationship to technology. In fact, Kidao likens his project to "an exaggerated caricature of our present and near future relationships to technology as is stands."
What made the project remarkable is its focus on how new technologies prompt new behaviour and new ethical questions and decisions. I realize i might be accused of heresy and crucified in front of the populace for writing this but ethics and social concerns are usually not the nerve centers of architectural exhibitions.
Allow me to do a bit of copy/pasting and let's see each other right after that for an interview with Madhav Kidao.
The Theatre, as illustrated in the film Making Friends and Other Functions, is a vehicle in which to explore the relationship that exists between the designer/creator and his or her repertoire of increasingly intelligent collaborative tools, be these tools to create or tools to think. The machines, under the selective guidance of the designer, construct their own reality based upon the information they extract from their environment and its unwilling occupants. This is ultimately a task with no beginning or end, and fundamentally questionable ethical integrity. As result we are left to question the role of the Architect, both in regard to creative authorship and ethical responsibility.
Hi Madhav! What are the 'Unsecure Webcams' that are mentioned in ACT I - The Observer? What makes them unsecured?
As I'm sure you are aware most live feed web and surveillance cameras can be accessed remotely through the internet. It is possibly one of the Internet's worst kept secrets that by simply googling specific codes for particular camera models, for example "intitle:liveapplet inurl:LvAppl" a list of all the live webcams of that particular make and model is given. Often, however, the owners of the cameras, usually domestic or small businesses, fail to password protect them, this is what makes them unsecured. Therefore in theory anybody is able to view the camera's live stream and with many cameras actually control the pan and tilt of the camera. As long as you have not cracked any passwords, this is entirely legal.
Whilst the feeds are usually pretty innocent, and frankly often mundane, every now and then you come across something that you no doubt shouldn't have done, an insight into a private world completely unconnected to our own other than through technology. It's quite a peculiar relationship that exists between the remote observer and the realities of an unknown space that is unfolding before them. Time is of particular importance as you are viewing in real time a world in which you have no knowledge of its past beyond the moment you logged in, yet our extended embodiment into the animate camera somehow immediately embeds us into this unfamiliar space.
This is not too dissimilar to the tele-assistance relationship between a drone pilot and the drone. Initially we are completely ignorant of where and what it is we are looking at other than what can been interpreted from the point of view of the camera. It's in our nature to be inquisitive, to people watch, and there is some perverse pleasure in trying to comprehend the events unfolding before us. However due to the lack of context more often than not this is simply educated speculation. The more I explored this strange paradigm the more I found myself just making up wholly fictitious scenarios in my head based upon the slightest clues garnered purely from body language, perceived interactions and the environment. The epistemologically variety of this action means that truth soon begins to seem irrelevant compared to the desire to fabricate an alternative reality.
The name of the project, The Theatre of Synthetic Realities, places your work in the realm of fiction. Yet, it was inspired by elements of reality. Could you tell us about the trends, behaviors and technologies that have inspired the project?
It was from this point that the concept of a Theatre of Synthetic Realities emerged, a kind of reinterpretation of Hitchcock's Rear Window for the 21st Century, in which the binoculars are replaced by the the vast interconnected complexity of our computing networks; with each input - be it a camera, a sensor or even another person - acting as a portal into a parallel environment. In much the same way as the binoculars are a prosthesis to extend our vision, the global technological systems that we symbiotically rely upon extend our powers of perception and influence around the world. In Rear Window the architecture of community and society defines the story. I was keen to explore how technology facilitates new forms of social interaction and redefined concepts of neighbourhood and community, and how this in turn redefines our concepts of architecture.
The impact technology has had upon our social systems, access to knowledge and global influence is nothing particularly new, Marshall McLuhan famously introduced the concept of a Global Village and Global Theatre almost 50 years ago. For me what is more interesting is how this has evolved into the relatively more recent concept of the Internet of Things. The trend I believe that we we will see with the Internet of Things is that it is not just objects that can be tagged and categorised but also the spaces they inhabit and the actions and events that they are associated with. In this way spaces, buildings and environments are becoming encompassed in the Internet of Things. This is not limited to architecture though, the social activities, and routines that are contained within that architecture add to the data history of a place, a form of artificial psychogeography. What this means is that in much the same way as we exist in a duality between physical and digital social circles, the spaces that we occupy do too. What we begin to see is a physical environment and the live updating digital representation of that environment. This is facilitated by new advances in sensory and scanning technologies, computer vision and biometric analysis.
I, like many others, was investigating the potential of the XBox Kinect as means of capturing complex real time data. Its capabilities have been widely publicised but in simple the idea that a machine can see in three dimensions and then also recognise human gesture is incredible. It allows any machine created using such technology to become actually embodied in a physical world. It begins to transcend the border between the physical and the digital which is a very powerful concept when thinking about intelligent environments. And as we increase our dependence upon the internet as our primary source of knowledge and interaction, our interpretation of truth becomes more reliant upon the technology that we assign to gather and interpret the real world. So fundamentally we start to view the physical world through the filter and perception of machines, in effect, a synthetic reality.
Could you describe the Vision Machine, the way humans would 'interact' with it and its ultimate purpose?
The idea of the Vision Machine originated from Paul Virilio's book The Vision Machine. In it he discusses the concept of the "automation of perception", predicting a machine that sees for itself not for the benefit of man. This concept coupled with an interest in how artificial intelligence feeds into responsive/adaptive environments intrigued me. The capabilities that a computer has to extract a significant amount of information from a physical location combined with its ability to comparatively analyse that data with the vast amounts of data stored online through a neural network is almost enough to simulate perception. The resources that a computer has immediate accesses to - such as The Internet of Things - and its methods of analysis are completely alien to our own, therefore it could be predicted that its interpretations of the physical world would be alien too. Building upon the idea of how a human would perceive a space as viewed remotely through a webcam, I wanted to create a sensationalised demonstration of how the camera itself could possibly perceive the space it inhabits in relation to its learned perceptual world.
In regard to the Theatre of Synthetic Realities, the Vision Machine is in essence a robotic actor, cameraman and director in one. Whereas in the initial webcam scenario I was in complete control of the camera and was free to make my own conclusions of what I saw, with the Vision Machine at the other end I am relegated to a more collaborative role in which the machine dictates what it is I view however provides information that I would never have ordinarily been able to extract. Working from this principal we could then predict that the collaborative relationship between myself and the semi-autonomous machine could lead to an emergent performance unique to the relationship. The next stage in the Vision Machine was to then suggest that, much like I had done, it too begins to fabricate elements of reality and as such distort the reinterpretation of the digital model of that environment as well as what the viewer believes to be true.
The project has never really been a serious proposition for a machine to be developed. In fact it was supposed to be an exaggerated caricature of our present and near future relationships to technology as is stands. The machine is portrayed as more of a mild irritation that we just coexist with rather than any kind of interactive companion. Its ultimate purpose is as an analogical device to critique and explore our concept of what digital fabrication is or could be. In this project we are fabricating reality and the representation of reality as part of the Internet of Things. It is very much an attempt to question the relationship we have to tools and technology in a world in which we continue to transfer not just physical but increasingly cognitive faculties over to those tools. The is not seen to be necessarily a negative thing but rather an interrogation of the possibilities this presents, especially in regard to new forms of collaboration.
I found 'ACT IV - Making Friends and Other Functions' a bit daunting: here is a machine that observes human beings constantly and then assesses them and assigns them a character. Do you see current technology going in that direction? And what would be the benefit of having such machines around?
One of my aims for the project was to see how technologically advanced I could make it for the least amount of money; so begging, borrowing and hacking spaces, hardware, open source software and code. Then was an attempt to demonstrate how the role of the designer is changing, particularly in the world of open source projects. Practically any designer can now create they're own tools and machines for any job-specific purpose with a relatively low budget, the RepRap being the archetype. As complex and powerful technologies become cheaper and easier to hack, like the Kinect, the designer is gifted with power and responsibility that is free from supervision.
That sense of malaise you have from the idea of camera watching and judging you is in large part due to your loss of control and empathy due to the unpredictable nature of a non-human agent. I think this is an issue that as designers, and particularly architects, we will have to address. As architecture reacts to shifts in social habits I think we will see a lot of unforeseen challenges in regard to what technologies we use and the manner in which we do so.
Fundamentally my project is an immoral one and I think the concept of an immoral architecture is something that will become increasingly prevalent in the future.
The text of your project says that "The Theatre (...) is a vehicle in which to explore the relationship that exists between the designer/creator and his or her repertoire of increasingly intelligent collaborative tools, be these tools to create or tools to think. The machines, under the selective guidance of the designer, construct their own reality based upon the information they extract from their environment and its unwilling occupants. This is ultimately a task with no beginning or end, and fundamentally questionable ethical integrity. As result we are left to question the role of the Architect, both in regard to creative authorship and ethical responsibility." Is ethical responsibility already an issue architects and designers encounter nowadays when working with new technological tools?
Ethical responsibility has always had some part to play in the design process but I think that is slowly coming to the forefront. The explosion of open source has really brought ethics into the design process as it not only transfers power from the institution to the individual but it also provides new forms and channels to disseminate information, this recent article actually being a perfect example.
For me, consciousness and intent are just as important as categorical right and wrong. For exploring emergent technology is just that, emergent, it is unknown. While a particular technology may have positive society changing impact it may well have dire consequences too. I'm not one for speculations upon utopian ideals and believe that we will have to tread and adjust the boundary of what is acceptable to progress civilisation, however whilst the unquestioning embrace and exploration of new technology is exciting we often fail to question its merit beyond novelty. As Joseph Weizenbaum suggested, just because we can do something doesn't mean we ought to. I think we have to take a utilitarian stance and ask ourselves is doing something in a new way beneficial to design and society? And if so is it not to the detriment of others?
Admittedly I think architecture is a bit slow off the mark when it comes to these kinds of issues. This is understandable when you consider the timescale architecture operates on compared to other design fields. However Architects have always been eager to incorporate new design methodologies and the ethics of the technology used will undoubtedly become an issue.
In terms of the Bartlett show, I'm guessing there is a particular reason you have asked this question so I would ask the same of you. The show is always a dazzling array of phenomenal work and the mastery of a variety of mediums used is breathtaking. I do feel the density and complexity of the show does however sometimes make it overwhelming and distracting from the work. Of course as with any degree show the work on display can only ever be a vast reduction of the full scope of the project and as such the viewer is never going to get a comprehensive understanding of that project.
All images Madhav Kidao.
This one might be the last project i'll blog from the Design Interactions graduation show.
Diego Trujillo had two interesting projects in the exhibition. The main one was The Generated Man, a software work that flips around the way Google usually creates a digital persona of web users based on their previous behaviour.
For some abstruse reason, i decided that i'd focus on his other project: the 300 Years Time Bomb. There's something both disquieting and strangely appealing about a bomb engineered to explode in exactly 300 years time. Even if none of us will be there to experience it.
The bomb's timer displays the years in seconds making us question what meaning such a large number holds and changing our dramatic relationship with countdown timers.
The explosive is found 100 years after countdown is initiated, by this time it has acquired historical importance and is put on display in a blast proof building. Several generations await for the moment when it finally goes off in this controlled and safe environment. Time and efficient electronics make the nature of the explosive change from an immediate threat to a spectacular display.
Extracts of a Q&A with Diego Trujillo:
300 Years Time Bomb sounds like an action movie to me. Not just the title but also the drama, the fact that it is found 100 years after countdown has started. hence two questions:
The project is in fact very influenced by film, specially the design of the bomb as an object. I realized that the image of a bomb most of us have comes from action film. Real explosives are reserved to such a small portion of the population that most of us don't know what they might look like. Hence, common concepts of a bomb rely on fiction.
After I choose a time bomb as an illustration to talk about time, my research focused on the many ways bombs and countdowns are shown on films. This research is broad enough to write a book on. Some of my favourite explosion countdown scenes are from Alfred Hitchcock's Sabotage, the card countdown from Last Action Hero and the spherical bomb rolling down the stairs in The Shadow. However I decided for a more standard Die Hard style or 007 explosive, as they tend to be easier to read objects in which the detonation mechanism can be read on the design.
And Two: The project comes thus with the skeleton of a scenario. Do you want us to fill in the gaps and think about who created this bomb, to what purpose and why wait 300 years? Or did you elaborate a longer scenario?
Why wait 300 years was a question I answered quite thoroughly, but again it added many layers which were hard to fit in a gallery based installation. Several ideological and political stands are represented in architectural structures that do last hundreds of years. To a radical mind, many of these buildings would represent a threat to future generations. Another scenario would be manufacturing a perfect crime, if the explosive goes off after the maker has died and has been forgotten then there isn't even a suspect. Once more I felt that these two scenarios could be projects on their own and that there were enough elements for people to make up their own stories.
Sorry for the silly questions but is this a working prototype?
I suspect that as an interactions designer you're quite comfortable with working with electronics. But with this time bomb, you had to think extra long term. Pieces of electronics are usually not meant to last more than a few years or decades in some cases. So did you change anything in the way you worked, the materials you used, knowing it would have to last 300 years?
This was the thing I spent the most time with. I had to make electronics that would at least be perceived to last 300 years. The first thing I thought about was the battery (represented by a glass cylinder filled with black liquid). I found an experimental battery being developed at MIT called Cambridge Crude which is supposed to be efficient at storing and delivering electricity.
Then I thought about the display. This is where most of the attention would be as this is where the concept of the project is represented. I had to redesign the standard 7-segment display in a way that it would be read as energy efficient for my scenario to be plausible. I started designing a typeface based on it being energy efficient rather than readable or elegant.
When I started looking for materials to manufacture this, I came across organic LEDs (OLEDs) which are very energy efficient and can be printed in any shape. They are however still very experimental technology. By chance, I met with people from Polyphotonix, a U.K. based OLED company that sponsored and manufactured the display. They made all the individual panels for it by printing the OLED compounds onto conductive glass, this was particularly hard to connect as glass cannot be soldered and I had to come up with a mechanical way of getting electricity to the glass.
The nice thing about using custom made OLEDs is that they are very different from any existing display. Not being a standard part, no one really knows how long they'll last so the scenario becomes plausible as a result of looking at a new technology that people aren't used to seeing.
Your text says "The bomb's timer displays the years in seconds making us question what meaning such a large number holds and changing our dramatic relationship with countdown timers." could you explain in more details what you mean by that?