Antony Hall's projects explore the way we interface with technology, and how our interactions with it influence us creatively and socially. Often collaborating with scientists and technologists, Hall is currently focusing his talent on the investigation of biological and physical phenomenon. Some of his recent experiments involve communication with an electric fish, the creation of life through growing crystals electrically on volcanic stone, hunting for Moss bears and training Planarian worms.
He gained fame in the media and media art festivals with his electro-acoustic sound art devices and performances. Together with Simon Blackmore and more recently Steve Symons, Hall is a founding member of the Owl Project, a group which combines woodwork with electronics to create performances, musical instruments (iLog , and Log1k) and other physical computing projects.
Let's start with one of your most popular projects: the iLog. How did you get the idea of making it?
The iLog was created as collaborative project with Simon Blackmore and Steve Symons, we are the Owl Project. We developed the Log1K in 2001 as a performance tool to attempt rival the laptop in electronic music, shortly after this apple started pushing the iPod and we had to make a response, something which related more to the trend for portable, mobile hand held technologies. We wanted our devices to be a synthesis of craft and technology, as well as functional instruments. The Log1ks were getting increasingly heavy, among other things they used nearly 30 AA batteries, short circuits and fires, and blown-out speakers were becoming common place. iLog 01 came out in 2003. After we started collaborating with Steve Symons, we reinvented the electronics inside the iLog and started pushing the whole project to a new level; the M-Log is out later this year.
There's now a series of iLog models. Why do you think people buy the iLog? Mainly as a beautiful and quirky piece of art which they would not use too much fearing that it might be damaged (although you provide technical support.)? Or have you found that people use it extensively as any other kind of musical device? Were you expecting your project to have so much success?
I suppose people want the iLog for its quirkiness, something as an alternative to the mass produced items. We had no idea that it would become so popular - people blogged it like mad at the start and like a Chinese whisper it suddenly became what people wanted it to be; typically some kind of alternative to the ipod - But in reality its something quite different. It is intended to be an instrument for performance.
Our problem is that although there is demand; making them is still very difficult, and time consuming, so our focus is making them better rather than faster. At the moment we are looking at lending these to artists and working in collaboration to develop the iLog further. When we launched them for sale in London at DWB it was a real learning curve. Simple things like which way up it should be held, were completely un-obvious! We had to create extensive instructions regarding use, as well as repair and maintenance. The 24 hour support is most necessary! Its important that its more hands on than your average mass produced plastic device.
The iLog is something people can use, rather than living all its life in the art gallery. The new series, *M-Log, launching this year, looks like an iLog, and is a USB connective interface. So there is scope for programming your own sensor based instrument, which you can use with your own customized patch. The iLog is more of a stand alone sound generator. We are planning an event in Manchester during Futuresonic where other performers (including Leafcutter John) will be using the iLogs & M-Logs. *The M in M-Log stands for 'muio' as in "muio interface", the chip based interface inside which Steve's invention in his words "The muio interface is a modular system for sensing and controlling the Real World".
The wood is quite resilient and very repairable if damaged.
I love The Sound Lathe, a performance which explores the sonic properties of wood. Do you have any video of it?
There is some video here:
It does look like a very physical performance. Did you have to master new skills in order to be able to do these performances? How does each performance go? Are they all different from each other? Does working with wood creates situations and results you wouldn't have expected?
Yes its been really interesting - my self and Simon ended up sleeping in a kind of bivouac deep in the forrest as part or the "R&D" for the project, learning the skills of traditional "green woodwork", (electricity free) with Mike Abbott, master crafts-person. Mike invented a competition for Bodgers (the name for people who use the 'pole Lathe') called 'Log to Leg' (as in chair leg) so this is the new format for our performance - I think the record is 9 mins; transforming a bit of tree stump, into two perfect chair legs! It takes us a couple hours, but then our lathe is connected to copious amounts of sensor interface technologies. Quite a distraction, if like for our last performance at Lovebytes, it rained torrentially for the whole thing. In the documentation you will see a tarpaulin underneath that are 3 laptops and Simon.
I think for all of us it's a welcome change from sitting behind a screen the whole time - these physical processes are a great compliment to programming and electronics; and they still require a similar kind of focus and discipline. It is quite exhausting, you need a lot a focus to keep the beat in time as well as make a good carving, in this way it becomes quite mediative. Sharpening the chisels and preparing the timber are all equally demanding skills to learn.
Can you tell us something about the wooden objects produced during the performances? Which kind of objects are there? And what do you do with them once the performance is over?
We have a box full of various objects; ranging in description from 'chair leg' to 'fire wood', or specialist 'rolling pin'. Occasionally we have a look inside & discuss what we should do with them. We did make a chair with Mike about the only truly useful thing we ever made. The latest idea is to make some kind of flat pack, or player. Watch this space. You can see what we decide to do with them at The Piemonte Share Festival, 11 - 16 March 2008.
You are also interested in bio-digital medicine. That sounds very different from a project like iLog. Can you explain us what it is and how you started to be interested in this field?
Well this is my own personal project, although I have always working with biology or technological experimentation in some way; with ENKi I decide to humanize what I do. This was a decision to move into medicine and treatment technologies. Really its the same things that we work with in the owl project; looking at how technology is consumed and sold. The notion of bio-digital medicine is just one example in hundreds, of how science, or even the suggestion of science is used, and misused to sell ideas. Faceless corporations feed on our anxieties, our basic need to feel contentment or feel complete. I find it interesting that, just as some people turn to religion, others will look to technology or science to provide answers and solutions.
ENKI uses the bioelectric information from an Electric Fish to trigger human Brain-wave Entrainment. It generates sound and light pulses to induce a state of relaxation similar to the way traditional relaxation systems work, but the electric communication signal comes from an electric fish rather than a chip.
Did you test the system on other people? How do they react?
So far we have tested it on about 40 volunteers,most of them members of the public who had no prior knowledge of the project. We did this in the context of the Manchester Museum of Science and Industry; people enjoy the experience generally. I was surprised at the range of people who were up for it!
By this point I had started working with Greg Byatt as a collaborator. He has experience of using this kind of technology and administering similar treatments professionally. Greg has equipment which can monitor your physiological state and a brain-wave visualiser (EEG); we were trying to measure results this way. We only really came to one solid conclusion. We had to do more tests.
Isn't the idea of putting one's "brain-wave entertainment" into the fins of an animal scary? Do you feel that people would trust any other electronic device more than a fish or any other type of animal?
That is a good question. It's an exciting notion this whole idea of "wet-wear" interfacing - but not something that should be taken lightly. I don't like to be on my own if i am doing a test run, and yes I find it very unnerving. I never quite got used to the idea of connecting strangers up to electrodes and the fish. I also worry about the fish. The fish needs to be content and 'happy' for this to work.
In my opinion that most of these commercial devices are made by various humans all of whom have different intentions and issues, namely cost efficiency; and so effectively using quite crude means; cheap microchips. The Black Ghost knife fish is the result of millions of years of evolutionary refinement; but you could still say the same of micro chips.
Is that project completely developed or is it still a work in progress?
It's in progress. I started working with "electrogenic" fish in 2005; ENKI technology was the title I gave it in 2006 when I was in residence at ENSAD in Paris. This was the point I realized I could create a treatment technology that might actually be functional. I had a bit of pressure to actually finish something and so launched the basic concept of ENKI technology. The funny thing was that reflecting on it now - that just marked a new beginning. (It took a year just to convince the director of Pepiniere that it was in fact a real project and not some conjecture in science fiction!). Coming to think of it I have never really finished anything, I am much more excited by the notion of continued experimentation. I don't want to finish discovering. The more I work on ENKI - the more things there are to do and try, it keeps opening up. There are always more questions.
What is there left to achieve? And how much have you learned about cross-species communication?
There is still a lot to achieve. The 'treatment' side is just one layer of the onion. I started the project with the aim of communicating with the fish, generating an electrical signal and transmitting this in the fish in the tank, to the fish. Then I watch the the fish, looking for behavioral 'interactions' with the electrodes - generally if there is an electrical (connective) change to the electrodes, the fish is aware of this and investigates the electrode by swimming near it and around it (motor-probing responses). I also listening for a 'chirp' response. The 'chirp' response is a subtle modulation of the Electric signal, a specific fluctuation in the wave. The 'chirp' is used during like species interaction and communication. This is closer to the idea of language we have.
Experimentally there are factors which make this difficult to measure - The fish learns to associate the vibrations created by me entering the studio & opening the tank with a food reward. So any approach to the tank needs to be made silently, and the fish needs to be 'conditioned' to learn this over a long time. As the project progressed I became more interested in communication as something closer to an idea of commune. For the fish I see the communication signal they make more as a deep expression of self; a projected physical extension of the fish body, rather than 'language' in an anthropological sense. This communication is happening at a more primal level. In terms of the ENKi project I am thinking about this as a biological, or physiological connection between living organisms.
I recently discovered that I might be having a problem with what is known as 'superstitious' behavior in the fish; if I was a scientist in the academic sense, this would be a serous flaw in the project; something to fix, but for me it was a fantastic turn, giving the project a new angle all together. Its now becoming an experiment into animal Psychology, not just electro physiology. I don't want to say too much about this next phase but next year the project will look quite different.
You recently developed the Opto-acoustic modulator and used it for an interactive work at FACT and Liverpool John Moores University for the National Science and Engineering Week. Can you give us more details about this interactive piece? How does it work? What were you trying to achieve with this project?
The commission was to create and interactive art work that used something other than keyborad or mouse. I was determined not to use a video camera either. The the Opto-acoustic modulator basically turns sound-waves into light-waves. It can take 10 audio channels and convert these into "AM" transmissions through 10 Light Emitting Diode arrays. I am fascinated by the notion of 'Amplitude Modulation' sending data using light waves. The idea was to use 'Hyalite' salt crystals, to broadcast sound through their 'ionizing' ambient glow. You interact with the light and can detect the data as sound using wearable sensors. Additionally, using Steve's 'muio' interface again, 8 light sensors detect movement around the crystals using a lens and light sensor (based on the idea a simple biological 'camera eye') these feed into MAX MSP controlling a soundscape.
I read on your statement page that you are currently "working on new experiments relating to the creation of life through growing crystals electrically on volcanic stone, hunting for Moss bears (Tardigrades; Fresh water extremophiles) and training Planarian worms. " Could you already tell us a few words about these experiments?
I have been researching the work of William Cross for quite a while, and finally decided that I needed to recreate his experiments (with a few modifications) It's quite interesting trying to work out what he did - the only way to know is to recreate it. In 1837, he found these creatures "Acari electors" as he called them infesting an experiment, he believed that these things "spontaneously generated" within his experiment, several eminent scientists of the time recreated the experiment with the same results! My experiment is basically a recreation of this experiment, augmented with a little more technology - with the aim of capturing this phenomena of electrochemical abiogenesis. The only problem is the experiment has to run for many months.
I am interested in all sorts fresh water microscopic life; its a great 19h century tradition. With a decent microscope, you can take any roadside moss cluster and explore the interstitial oceans of liquids trapped between damp moss filaments. Here you might be lucky enough to find a Moss Bear ( "Tardigrade" ) an obscure form of extremophile that lives in moss. Believe it or not, it really does look like a bear! This in its self was a reason for laboring days over a microscope just to see if it was real! They don't fit into the zoological classification system, and have been given a phylum of their own. It is believed it is able to survive space travel, and at this moment a small space capsule orbits the earth containing some "Tardinauts" (its hard to compete with that) I simply enjoy looking for them. I like to go looking for moss growing in all kinds of areas, from urban waste lands, to the Peak District. "Tardigrades" are able to survive about 120 years in a dehydrated state; I was sifting through very old moss samples from Manchester Museum to see if I could reanimate 100 year old dehydrated Moss Bears. apparently it is possible. I had a lot more luck looking for the living ones. Unfortunately my one Planarian worm recently went missing in the tank. It is 8mm long, and I dont have the heart to keep it in a petri dish. I am not sure where it is.
Is there any artist or researcher whose work has been particularly inspiring for you?
I don't know where to start! Louis Bec for sure. I am really into what SymbioticA have been doing over the past few years, and what they are doing for the "Bio-art" movement. Otherwise, at the moment I am looking at the work of William Bebe. To be honest - I have been trying to read a lot more science fiction lately, particularly 19th century science fiction, and science writing. Often the science fiction tells you a lot about the popular understanding of science at the time. More importantly, its a good antidote ploughing through contemporary research papers.
Related: El Niuton has a slideshow dedicated to the work of Simon Blackmore.
Photo by Magdalen Green
As i receive so many emails from young people who would like to graduate in media art, interaction design and other "cool stuff you write about on the blog", i thought i should discuss more often with the teachers and researchers who run these courses in Europe, the US and in Asia. I've interviewed several of them before (Tom Igoe from itp in New York, Tony Dunne from RCA, Stephen Wilson from the San Francisco State University, Alejandro Tamayo from the Javiera University, etc.), today the victim of my curiosity is Graham Pullin.
Graham Pullin joined Interactive Media Design at Dundee after nine years as a senior interaction designer and studio head at IDEO where he most notably created together with Crispin Jones the Social Mobiles series. He has been involved in the design of mobile phones, hearing aids, furniture for children with disabilities and remote-controlled submarines. Previous to entering the design industry he gained an MDes from the Royal College of Art, this after a number of years as a medical engineer, having studied engineering at Oxford University.
Dundee is a small city situated on the east coast of Scotland. I must confess that i had never heard of it until one or two years ago when the pieces developed by the students of Interactive Media Design (IMD) at Dundee University and shown at the Museum of Lost Interactions started to make a glorious tour of all the design and gadget blogs.
The BSc in Interactive Media Design brings together Computing modules, Design Studies modules and Interactive Media Design modules, in a range of hand-on projects that prepare students for a career in interaction design.
Your bio on the School of design website says that you are "passionate about work that blurs the boundaries between interaction design and industrial design". Could you explain us what this involves? Any concrete example of this blurring of the boundaries?
Muji's CD Player, designed by Naoto Fukasawa, has always been a favourite. The industrial design is the interaction design, suggesting a ventilation fan and inviting you to pull the cord, in the designer's own words "Without Thought"... which is about so much more than ease of use - there is such a lightness of touch, such delight.
Perhaps I feel more at home at these intersections - or in the gaps between - because of a twenty-five year journey from computer programming, via engineering and industrial design to (back to? I'm not sure) interaction design. I'm a little envious of my Interactive Media Design students for getting transgress these boundaries right from the start.
The Gentleman's Chair (Edinburgh, 1898) by Ryan McLeod, Jamie Shek and Ian Shiels
For them, Forgotten Chairs is an introduction to designing interactions in the round rather than on screen. Recreating historical artefacts allowed them to find objects abandoned in charity shops and recycling yards, rather than build from scratch. Whether their exhibit is credible is a real test of whether they mastered the relationships between the three-dimensional and graphic design languages for their chosen period and the qualities of different media and technologies. The Gentleman's Chair has a coherence and attention to detail that I hope Ian Shiels, Ryan McLeod and Jamie Shek will apply to everything they do next.
Why focus on "lost interactions"?
The theme of lost interactions connects young interaction designers to a heritage that is older and broader than the history of the personal computer. At the same time, it can provoke reflections on the pursuit of technical innovation for its own sake. PESTER by Euan McGhee and John Drummond is a 1970s mobile phone with built-in camera, music player and games.
Designing within a historical period can also help the students to be more conscious of the possible social impact of technology, issues easier to gloss over when looking optimistically into the future. The Case Communicator by Alison Thomson and Shaun McWhinnie promises liberating mobility to the modern businessman, but condemns his 1930s secretary to even longer working hours, tethered to her telephone exchange.
... and do you feel that in general some kinds of interactions get lost over the years? Can an interaction became obsolete and how?
The radio dial is a loss: a magical interaction, a bit like safe-cracking (I'm told), to navigate a frequency band by half-second snatches of sound, occasionally stumbling across surprises. Instead, we now select a station name from a list - but isn't this just because a little display has been added for the text streamed with Digital Audio Broadcasting and then adopted for the interface as well? If we browse images through thumbnails rather than filenames, why shouldn't we continue to browse radio by its content?
Rather than lose this interaction, we could reinterpret it. True, there are inherent time delays in the way a digital radio tunes to a station and buffers sound, but this is a limitation of imagination more than technology - perhaps a secondary tuner might harvest recent content across all stations in the background? Making the technology work harder towards a richer, ultimately even simpler experience excites me more than adding features.
To be honest with you, i'm in a phase when i've seen so much interactive anything that i've started to be tempted to change room when someone invites me to "interact" with their screen/coat/clock/lamp, etc. I mean it is funny for a few minutes then my attention drifts away. Am i the problem in this scenario? Do you think that i need to see a doctor? What are the characteristics that makes an interactive work engaging and challenging beyond those first few minutes?
Can you make a double appointment for both of us? I am just reading The Poetic Museum by Julian Spalding which argues that the profundity and richness of original artefacts are being overlooked in the indiscriminate move to interactive exhibits. And MoLI certainly isn't about where to draw this line...
But what it is, is a first opportunity for our students to jump in and learn that the success of an interaction depends on its realisation as much as its conception. And this is the reason it's difficult to answer your question - you have to experience the experience for yourself to know if it's working.
The Amazing Musical Chair lets its occupant create a complex mix of 1930s instrumental sounds. This might have been a cacophony, but the whole exceeds the sum of the parts because Raymo Holloway and Graham Hancock crafted each loop and went to the trouble of recording musicians playing real instruments. Whereas the Barrow Rocker is just a mechanical music box that plays a note for each rock back and forth and owes its delight to Kirsty Woodend and Rebecca Rumble keeping it this simple.
There is a high focus on documenting the students projects using videos. Is it important to the whole creative process? Or is it just the icing on the cake for the video-hungry web visitors?
On the Forgotten Chairs website, video is used to tell the story of each exhibit and place it in context (there's some nice archive footage) but also to convey the interactivity to those who couldn't make it up to Dundee and experience the chairs for themselves. I think that's something I got wrong on the original MoLI site - most web visitors didn't realise that the models actually worked.
But in general, video is an important and versatile tool for our students - to sketch ideas, even as they are building them, and also to make documentaries and advertisements to disseminate their designs. And some may pursue careers in which video is their primary medium, whether as design ethnographers, researchers or artists.
I had a look at the Degree Show projects from 2006 and was quite intrigued by Andrew Cook - Tactophonics. Could you give us some details about it, how it works, what inspired the project and what in this project embodies the IMD department way of thinking and teaching?
Andrew Cook is also a computer musician (under the name of Samoyed) and his project was inspired by how unengaging performances of computer music can be - how difficult it is to understand what sounds are pre-stored and which are being manipulated or created live. The difficulty in setting up any kind of rapport between the audience and the performer is unrewarding for both.
Tactophonics was about making interaction with computer music more physical by letting a performer choose any object - for their own reasons - and turn it into an instrument. It worked by attaching a series of contact microphones to the object, not using these sounds directly, but shaping other sounds generated in MaxMSP. At his degree show, Andrew exhibited a tree branch that had been wired up: shaking the whole bough, bending the branches, scratching the bark, even snapping off the twigs, each produced different sounds. The relationships between action and sound was at once abstract and intuitive, engaging to play, and also a compelling spectacle for other visitors.
I suppose this embodies our approach to thinking by making and playing. Andrew crafted a beautiful kit of parts and instructions, but this was just the starting point for each musician to create their own instrument and performances. It was about understanding this distinction, but also that design has a role within this creative whole.
By coincidence - well, not really coincidence - Cook is now working with me as a PhD student. We are trying to make synthetized speech more expressive - in particular for some people with impaired speech who use communication aids based on Text-To-Speech technology. Current devices offer little or no control of tone of voice, which can give a false impression that the person using them is also emotionally impaired. We are going to start off by building six speaking chairs.
This research is the real reason I left IDEO and came up to Dundee. My exploration of new interactions with speech started with Social Mobiles, a project that Crispin Jones and I led. The Speaking Mobile asked how much could be communicated with only the words "yes" and "no", if their intonation could be controlled. Once bitten, I decided I had to devote more time to this intriguing and under-explored area.
Have you ever come across projects from interactive art which you found relevant and interesting for an interaction designer?
One of the most relevant and inspiring to my own work was Listening Post by Ben Rubin and Mark Hansen, an installation that sampled text from internet chat sites and played it back as hundreds of synthesised voices. Its aesthetic qualities came from these voices being deliberately monotonic and tuned to a scale. The whole effect was reminiscent of Gregorian Chant, eerie but quite beautiful. In a field dominated by the quest for so-called 'natural' speech, Listening Post is one of the few examples I have come across of synthetic speech being treated as a design medium.
Could you name us one or more interactive media designer(s) whose work you find particularly inspiring?
Oh dear, I think I know how this is going to sound Régine, but please bear with me...
Wofgang von Kempelen, better known for the Mechanical Turk, built the first speech synthesiser in 1791 (here's a sketch I made of it in the Deutsche Museum in München). Obviously, in those days, his Sprachmaschine was a mechanical analogue of the vocal organs and so speech sounds were derived from actions, not written language. But the design is also rather theatrical: the operator placed their hands through holes in a wooden box, so that no-one could see what they were doing, heightening the magic.
I realise this may sound nostalgic, especially following the Museum, but there is nothing nostalgic about the research that I am engaged with. I am quite serious about gaining inspiration from Kempelen and applying it to computerised Text-To-Speech. It's the interaction that counts, not the technology.
The IMD website mentions that "Interactive media is one of the fastest growing sectors in the international economy". I noticed when visiting design student shows that other departments, such as for example product design and industrial design, are getting more and more engaged in interactive projects. What is the specificity of IMD in Dundee?
I suppose I'm more interested in blurring again: interaction design and interactive media are part of so many sectors. In my 9 years at IDEO, leading projects and running a studio, that was increasingly the point: that interaction design had a role within a wide range of businesses and organisations, not just those focused on interactive media or interactive products.
Compared to product design courses, IMD is coming from the opposite direction, if you like. My current role is to introduce this shared territory to students who are already immersed in media and coding and narrative and interaction design - my colleagues Catriona Macaulay, Ali Napier, Shaleph O'Neill and Morna Simpson have backgrounds in design ethnography, sound recording, semiotics and content design.
On the other hand, we are a design course, which distinguishes us from a number of Computer Science or Human Computer Interaction courses that have rebranded themselves 'interaction design' or 'interactive media design'. It is important that our studios are at the heart of an art college, sharing ideas as well as workshops with product design and textiles and illustration and fine art... as well as computing.
Why Dundee? Apart from IMD, what should make us put Dundee on a map?
It's no coincidence that IMD is in Dundee, as it's a collaboration between the School of Computing here and Duncan of Jordanstone College of Art and Design. The School of Computing has always focused on what it calls 'applied computing' rather than computer science and Duncan of Jordanstone has a great reputation in Scotland.
This year we are launching a Master's course in design ethnography, aimed at students and professionals from human factors or design backgrounds. And there is lots of research going on across these traditional discipline boundaries.
IMD has a sister course called IPD, which (a bit confusingly) stands for Innovative Product Design - where IMD is a blend of design and computing, IPD is a blend of design and engineering. IPD too has a strong point of view on "lighter and smarter" interactive products. Course director Polly Duplock has built a team with strong links with the RCA, Goldsmiths and industry, which now includes Jon Rogers, Andy Law and Pete Thomas. Second Year students on our two courses are currently working together on an invited brief for Microsoft's 2008 Design Expo. We're getting them to look at their relationships with their grandparents and consider where simple networked objects might play a role.
Any upcoming project, either personal or school related, that you could share with us?
I have just written a book, 'Designing Braille for the sighted (and other meetings between disability and design)' which is being published by The MIT Press and should be out in the autumn.
Twenty years ago, I spent three years as a medical engineer in a hospital designing products for disabled people. Then I went back to the Royal College and spent the next twelve years in design consultancy, designing all kinds of things for all kinds of people. The starting point is how distant these two cultures still are from each other - but how much each could inspire the other (sorry, it's about boundaries blurring again...)
It starts with seven tensions between conflicting values and priorities. Is it more important for a wheelchair or a hearing aid or a prosthetic hand to be discreet or fashionable? Universal or simple? Sensitive or provocative? Is it more important to solve known problems or to explore new possibilities? Striking the right balance - and a different balance for different disabled people - requires the skills and sensibilities of both design cultures, not either one working alone.
It ends with conversations with some designers I like - including Tomoko Azumi, Vexed, Crispin Jones, Michael Marriott and Graphic Thought Facility. We discuss design briefs related to disability in some way - wheelchairs and wheelchair clothing, prosthetic legs, watches for visually impaired people and Braille. Their first trains of thought are diverse and inspiring.
Despite the subject matter, this is anything but a textbook (there are several of these already!) It's to be an affordable - and I hope beautiful - little book to carry in your pocket and read on a train journey.
...and some dates for your diary:
24 February - 12 May 2008: Social Mobiles exhibited as part of Design and the Elastic Mind, MoMA, New York
16 - 24 May 2008: IMD degree show at Duncan of Jordanstone College of Art and Design. This year's IMD graduates were responsible for the first Museum of Lost Interactions
27 - 29 July 2008: Microsoft Design Expo 2008, that will feature the work of Dundee IMD and IPD students
Autumn 2008: The MIT Press due to publish 'Designing Braille for the sighted'
December 2008: the opening of the next gallery of MoLI (sorry, the theme is a secret!)
Meet one of the Godfathers of the Finnish media art mafia...
Through a series of performances, exhibitions and club events, Pixelache brings together young creators from diverse disciplines who playfully and critically experiment with media and technology. The festival also features practical workshops and seminars addressing current issues in the development of digital media.
Pixelache University will focus on education and ask questions such as Does the educational system have room for hackers, circuit benders, environmental activists and VJ artists? What would be a suitable curriculum for nurturing independent grassroot initiatives?
Furthermore, Pixelache has opened its very own educational programme with a curriculum which consists of monthly Pixelache events (presentations, workshops, concerts and parties).
I met Juha for the first time at Belsay Hall, in the North of England. He had commissioned 3 media artists to get some inspiration from the 17th century manor house and inhabit it with their art installations (review here and here again). Then we saw each other again in Colombia where Juha had invited me (hey! lucky me!) to participate to Pixelazo. I had him sit down in a bar for an interview. That was back in June.
Transcript of our Medellin conversation.
How could I define Juha Huuskonen?
When people ask what I do I tend to answer that I am a software engineer (because that is my official education) who is lucky enough to make a living as an artist but in fact I put most of my efforts into organising events and developing organisations.
How was Pixelache born?
The first Pixelache festival in 2002 was put together in an improvised manner, with a tiny budget of a couple of hudred euros. The purpose was to bring local active people together to discuss and present experimental work that fell between the categories - not art, not design, not research, but kind of all of these at the same time. This type of work is of course shown in all kinds of international festivals (today even more than a few years ago) but the other special thing about Pixelache has been that we've focused on showing work by young, emerging creators and taking risks by showing work that is still in the concept or prototyping stage. This is something that we are still trying to stick to, even though the festival has grown quite a bit and involves more established artists as well. Education - all kinds of seminars, workshops and presentations - has also been a very important part of Pixelache from the beginning.
The longer history of Pixelache can be traced back to katastro.fi, a loosely organised media art collective that started in 1998. During its heydays, katastro.fi had around 50 members and worked on rather large scale projects, such as eko.katastro.fi and 2000.katastro.fi. The founders of katastro.fi were involved in demoscene, a subculture that evolved around software piracy and creative experimentation with early home computers (Commodore, Atari, etc). Katastro.fi brought together some of the most successful Finnish demo groups (Komplex, Orange, CNCD, Sonic, Virtual Dreams, etc) which had been active already since late 80s/early 90s. In the demo scene, people would get together in parties (events that nowadays can attract up to thousands of young people) and show the stuff they were working on. The way demoscene functioned as an informally organised, highly social network focused on developing new work and ideas has influenced my own practise a lot.
Where does the name Pixelache come from?
I found the word Pixelache sometime in 2001, in an article that was predicting new words that would be used in the future. The word was supposed to describe an "overdose of digital media." I knew myself how that feels, for me the feeling of overdose comes from seeing too much of the same, how all media and technologies become standardized, closed, stiff and boring systems over time. I googled for the word "pixelache" and got zero results, so it was a word waiting to be grabbed. So, we first had a nice sounding name, the concept of the event evolved afterwards. Pixelache festival actually tries to act as an antidote for 'pixelache', presenting projects that challenge the standardizations.
How did Pixelache end up spreading to other countries?
Our international events started in 2003, when we organised Pixelache festival in New York and Montreal. Both festivals were organised on a shoestring budget, with a lot of effort and enthusiasm from both organisers and artists. We carried most of the necessary gear and artworks as luggage, organised free/very cheap accommodation and traveled on a Greyhound bus between New York and Montreal.
The events in New York and Montreal brought together a quite unusual combination of local organisations that all had a lot of influence in planning the festival program. In addition to international guests, both events featured a lot of local artists, many of whom were later invited to Helsinki. We have maintained this way of working ever since. The model is sort of opposite to ISEA: instead of a separate international jury, the local organisations are in charge of the program, they never have to present projects that they don't consider relevant for the local context. The program decisions are aided by an on-going discussion between various partners within the Pixelache network.
I think the reason why organisations want to work with Pixelache, or start their own Pixelache edition, is that Pixelache takes seriously the work done by emerging authors but does it without trying to be pompous. Another thing that makes Pixelache interesting is that we work at lot with international networks and subcultures, such as VJ scene, hacker and activist communities, etc. The current active nodes in the Pixelache network are Pixelache Helsinki, Mal au Pixel Paris, Pixelvärk Stockholm and Pixelazo Medellin. Pikslaverk is about to start in Reykjavik and we've been actively collaborating with piksel.no in Bergen, RIXC in Riga (Locative Media Workshop), Plektrum in Tallinn, Mediawala festival and Doors of Perception in New Delhi, Interferenze in San Martino Valle Caudina and several other events.
What's the story of the creation of Pixelazo?
Pixelazo started with a random encounter - Vanessa Gocksch from Colombia contacted us in response to our open call for proposals, and eventually came over to Helsinki in spring 2005. Vanessa is running an organisation called Intermundos which works with marginalized communities in Colombia (for example kids from the ghettoes and indigenous Colombian tribes) and facilitates them to get involved in using media and technologies, focusing on free / cheap / DIY tools that are available to them. Vanessa and Intermundos have been a fantastic partner to work with, they are one of the rare organisations in Colombia who have the credibility to work with both grassroot organisations as well as established cultural institutions. It took two years to get to the first Pixelazo event, meanwhile we did some test runs by organising workshops with events like Salon Internacional del Autor Audiovisual in Barranquilla and Bogotrax in Bogota.
Pixelazo has been a great source for inspiration and ideas for future Pixelache events, Colombians are not so overwhelmed with gadgets and technology as we in the Western world are, but they can take the time to develop their own DIY solutions. Colombia is also immensely rich in culture, even though much of it is hiding in the slums or deep in the jungle, not easily reachable by random tourists. In this sense the bad reputation given to Colombia in the international media has actually been a blessing, the fact that there has not been much tourism has preserved a lot of the culture that would have otherwise been commercialized and/or destroyed already a long time ago. But this seems to be rapidly changing, more and more tourists are coming to Colombia and Uribe has made the country a lot safer, but unfortunately in a building-high-walls-around-gated-communities kind of way, copied from the United States.
The future goal of Pixelazo & Pixelache is to bring more ideas and cultural influence from the South to North. For example at the first Pixelazo event we had some guest from the Nasa tribe, the way they see their life is that they are constanly weaving a web of people and knowledge, spreading it around the mountain range where they live in. This is documented in their traditional handcraft, weaved bags that contain information that looks like digital data. When they started using radio, they used radio cicleta, radio bicycles to act as mobile transmission units. This way radio technology can be made transparent, the transmission station is always moving inside within the network of the tribe, it does not become a hidden black box, a top-down authoritative tool like we have adopted it. They have now started using web and internet tools as well, all based on open source, it will be interesting to see how this develops.
What happens if I want to set up a Pixelache in another country? Is there a strict receipt to follow?
I guess step number one would be to get in touch with us, with Pixelache Helsinki or some of the other nodes in the network. Rest of the process has so far been informal, we've built collaborations slowly and by starting with smaller events. Right now there is a kind of pressure to make the process more formal and easier, so that more Pixelache events could be established since quite many people have contacted us about this during the past couple of years. We've been working on a Pixelache manifesto, a sort of 'constitution' for Pixelache events (not in EU style though :), something we can agree on and use a reference to develop the events in future. It's still under work, but it will probably contain at least following statements:
Multidisciplinarity: it's an event that brings together hackers, artists, architects, activists, but also people from the commercial new media / tech world.
We try to bring together, support and try to understand how different sub-cultures can function, it's not just art, it's also hackers, community networks, VJs, etc.
There are also some themes that seem to appear in different ways in various Pixelache events: public space/locative media/borderline between physical and virtual space, do-it-yourself/hacking/missusing technologies, organisational strategies/collaboration/democracy, etc. VJ community and audiovisual performances have had a prominent role in all Pixelache events.
Over the years we have developed working methods that makes it easier to organise this type of events, there are some of the tricks that new Pixelache festival nodes can adopt if they want. This has mostly been about treating the organiser team and the artists as one big team that can help the event to happen, by using e-mail lists, wikis, etc. For example one little innovation, asking the artists to put info about their travels online in a wiki themselves, took away a massive travel agency type of work from the organisers (there are often around 100 international artist/contributors arriving to Pixelache). The other great effort used to be the publication, but we have managed to cut down the work effort by using a simple design template and a wiki to put it together, we also make it in A4 size so that we can print it at a photocopy place on the last minute and later on anyone can download and print it at home as well. All these methods help us to remain an independent, grassroot initiative even though the festival has been growing in scale quite a bit.
When you talk about Pixelazo you usually say *we made" " we were invited", etc. Who is behind that "we"?
'We' is most often the bunch of people involved in organising Pixelache Helsinki, there is a core crew of 5-10 people who have been involved for a longer time, and a larger group of people who get involved occasionally. The larger 'we' includes the international Pixelache network and our local collaborators.
But the question 'who is we?' is actually very important for us, after all these years we are still trying to figure out what it means to be an independent, grassroot organisation. This is something we've been exploring also in previous Pixelache festivals, with the 'Dot Org Boom' theme in 2005 & 2006 and 'Architectures for Participation' seminar in 2007. With the emergence of all the 'Web 2.0' tools and networks, the role of the diy / independent / experimental / alternative media and tech organisations in changing. The revolution of 'citizen media' eventually has happened, via myspace, youtube and facebook... But in quite a different way than 'we' were expecting.
When I interviewed you, we were both in Medellin, a few days after you left the city and flew to Leticia which to me (I've never been) looks a lot like the jungle. Can you gives an overview of the Leticia chapter? How did it go? If you look back at what happened there, do you think it might have any influence on the next Pixelazo?
The purpose of the visit to Leticia (a town in Amazonia, in the border area of Colombia, Brazil and Peru) was to prepare 'Selvatorium', an artist residency and other activities out in the nature, with indigenous tribes involved. Vanessa has been working with the indians for a longer time and has documented some of their practises at Intermundos website... So we don't need to start from zero, but it's still a great challenge to figure out the 'right' way to try to bridge the gap between North and South. I don't think there is an easy solution available, with such a huge gap between the cultures. As I said before, I think we have a lot to learn from South, but we should also try to make a positive contribution to the local life, without imposing our own values and systems on them. Also it's kind of ridiculous to work on projects dealing with nature, and to burn a great amount of kerosene when people fly over the Atlantic to get there. Hopefully someone will donate us a big sailing boat soon....
Next Pixelache appointments:
Mal au Pixel 2008, Paris, 17-25 May 2008
Artist and activist Cat Mazza is the founder of microRevolt. This collective of "craftivists" develops projects which combine knitting with machines, and digital social networks to investigate and initiate discussion about sweatshop labour.
A 2007 Media Arts Fellow in New Media (funded by the Rockefeller Foundation), Cat has exhibited her work and given workshops and lectures around the world. In 2005, she received a "Digital Communities" award at Ars Electronica for her project knitPro, an online tool that translates digital images into knit, crochet, needlepoint and cross-stitch patterns.
Her 2006 Turbulence Commission: Knitoscope Testimonies is the first web based video using "Knitoscope" software, an experimental program that translates digital video into a knitted animation. She is Assistant Professor of New Media as at UMass, Boston.
In 2002 I moved to Maine after working for 3 years at Eyebeam (a New York based art and technology center), and was doing research in new media, women's studies and globalization. That work led me to volunteer with a Bangor based organization called Peace through Inter-American Community Action (PICA). I met people active in the anti-sweatshop movement there, and that's where it began for me.
Sweatshops scandals have received some press coverage over the past few years. And i suspect that you follow the issue more closely than most. Did you see the situation evolve for the better since you started to get interested in the issue?
I don't know that labor exploitation in manufacturing global goods has changed in the last 6 years, but I do agree that there has been increased visibility of the crisis. This ultimately makes a difference. One thing I've witnessed grow in the United States (with some international allies) is a series of local groups networked into a coalition called Sweat Free Communities (SFC) who campaign for better trade and purchasing policies. There also have been some great films like Maquilapolis and China Blue that have helped raise awareness. And we should not underestimate the resurgence of craft and the subsequent alternative on-line micro-economies that have developed. So even if the working conditions have not improved, many consumer, activist, entrepreneurial and legislative change agents are finding ways to confront the problem.
What is the value of micro-revolting? Of the small acts of resistance that your work encourages? How significant can they be?
The concept of "micro revolt" is loosely inspired by the idea of molecular revolutions*. What if social change was not simply a consequence of governing or economic policies; and small, disconnected resistant acts overlapped to nudge along change?
MicroRevolt in many ways began as an experiment more than a conviction. These web-based projects did achieve networking craft hobbyists in a form of labor activism, but the efficacy or value is hard to measure.If it's "revolutionary" to favor drastic economic or social reform, knitting could be an interesting place to begin. I was just reading this book where Noam Chomsky was asked about the significance of policy reform "tinkering" and he said this can be preliminary to large-scale structural change.
Why not? What is the political potential of craft and can it be an avenue for pleasure as well as organizing for social good? You could ask the same question of art.
* This winter I hope to have a podcast of a chapter of a book by this title.
The Nike Blanket Petition project started in 2003. How did it evolve, grow and what impact did it have?
The Nike Blanket Petition started with learning how to crochet. I was interested in the tradition of pre-industrial crafts, tacit knowledge, learning to make stuff with my grandmother. I then met up with a local craft group and they agreed to help. Gradually more and more people participated. It was on the microRevolt website that attracts a lot of traffic because of knitPro, a useful pattern freeware, so people learned about the project there. It went to craft and electronic arts festivals nationally and sometimes internationally. The project has been going on for years, but it has been this slow trickle of signatures, like a 1950's mail art project or something. People often send a single square and occasionally I'll get multiples from a Women's Center or a knitting circle from Portugal, and encouraging notes like "Good luck with the revolt!".
People have participated from over 30 countries and every state and I'm still behind updating the data. It's hard to measure the impact. My hope is that individuals who participated in the project have started a discussion in their circles and considered their own methods for activism.
Stitch for Senate invites knit hobbyists to craft helmet liners for every US Senator in an effort to encourage them to support the troops sent in Iraq by bringing them home. I first read about that project in March 2007. What is the outcome of SfS so far? Did you get any reaction from the Senators?
This is a very important year in the United States because of the presidential election, and 1/3 of the House of Senate seats will be campaigning as well. To get elected they will have to be bold about their position on our troops in Iraq, and the Stitch for Senate project is an attempt to engage people in discussion with their public officials about the war. There are some tenacious knitters out there willing to knit a helmet and make testimony. All of the participants support the troops; most of them are pro-peace (including some military moms). I've lived in New York State for 8 years and on the morning of 9/11 I was trying to walk over the Queensboro Bridge while the towers were in smoke... but I never supported this administration's approach to this war, or my Senators (Hillary Clinton and Chuck Schumer) authorization of military force in Iraq. US Senators are required to respond to every letter they receive, and they'll likely be glad to articulate their position. We are not mailing the helmets to the offices until we have 100 so we can send them all at once, with 100 people from all 50 states. I am hoping we can do this before the November election.
You participated to the Hackers and Haute Couture Heretics workshops in Istanbul last summer. Could you give us some details about what you've been developing over there?
Firstly, Istanbul is breathtaking. For me this was a really thrilling trip because the exhibit's organizer Otto von Busch is so amazing. His writing is really interesting, and he is extremely skilled at designing. Most wonderful is his community based fashion projects like Dale Sko Hack and Merimetsan Alchemy - a fashion project in a mental health facility. I think you interviewed him about this. But also, he is a fashion theorist. What is that? You have to hear it in his words. I recommend his book Abstract Hacktivism. He had a very particular idea for this exhibit and I hope he writes about the outcome. The people he invited perhaps under the "craftivist" flag; all have very different practices and maybe even agendas. So that was interesting. It is unfortunate but I think that in some ways the intended project failed. We were supposed to collaborate with a Turkish high fashion brand called Vakko. Some of us were already skeptical and they ended up canceling after we each did an intensive design challenge. Instead, there were many fruitful workshops (Junky Styling, Counterfeit Crochet, Hacking Couture). What is special is just to have a public space where people can come in and learn and make, sew, knit, machine knit, etc.) Amazingly, this all took place in a gallery right next to a Nike Town store. The highlight for me was after four years, with a lot of help from Otto and the attendees; hundreds of the post-mailed squares were stitched into the border of Nike blanket. So it's nearly finished. I also met beautiful Iranian sisters who took me on a ferry around the Bhosphorus.
What are you working on currently? Is there any upcoming public event in the microRevolt agenda?
From now until August my main focus is a new artwork - Knitoscope Sampler. I may have to put microRevolt reBlog to sleep for a little while and shift my web presence from labor to war because of the election and Stitch for Senate. Also on January 26, 3-5:00pm, "Crafting Protest" - Panel Discussion and Craft Reception at The New School, Theresa Lang Community and Student Center, 55 West 13th Street, 2nd floor, New York City, NY. Moderator: Julia Bryan-Wilson, art historian and critic. Panel includes artists: Liz Collins, Sabrina Gschwandtner, Cat Mazza, Allison Smith. February 20-23 in Dallas, Texas I'll be participating in two events Social Fabrics and Gestures of Resistance as part of the CAA conference. Stitch for Senate helmets and video exhibits at the Museum of World Culture in Göteborg, Sweden opening January 17.
Now something more personal. I've always been fascinated by knitPro, , a program that translates digital images into knit, needlepoint, x-stitch and crochet patterns. However, i can't knit and even if i could, the only moments when i picture myself knitting would be while i'm bored in the plane or at the airport. But they would probably confiscate my needles there.
Is there any service that would allow me to send a pattern to someone and get the shirt back nice and ready to be worn?
Not that I know of, but this could be a highly successful business. What about going to your local yarn store and asking? People that go and work at yarn stores are usually totally pro and up for commissions.
Or is there any place where one could buy one of those leg warmers featured on your blog or the little face mask. I have one and people keep asking me where they can buy one.
So far I haven't been into selling the knitwear that I make. The logoknit series was made to bring attention to the branding of corporate monopolies that were sweatshop offenders and also to show what is possible with knitPro. I made two Mickey Face Masks that I donated to Turbulence.org. I was really glad you got it because the other one didn't sell and I felt bad because it was a fundraiser. The Barbie Legwarmers I sold to Natalie Jeremijenko's daughter for her art collection. But that's it. I'd rather organize uploaded knitPro patterns into a searchable database than make and sell knitwear. Plus this is an election year; must focus.
Is it totally silly of me to assume that most craftivists are women? Or is it more gender-balanced than i'd assume? Do you come to expect that most of the people who will engage with your project will be women? How much do you think that it matters as far as your own work is concerned?
Craftivism is a new term I think coined by Betsy Greer, of craftivism.com. I am not sure I understand what and if craftivism is yet, but it's not gender specific. See: (menwhoknit.com). As far as my work is concerned, I have worked with mostly women but many men too. I just got the first balaclava from a male knitter from Federal Way, Washington who stitched for Senator Maria Cantwell and it's wonderful because it's his first knitting project with round needles. Also, I met my boyfriend because he needlepointed a series of pillows of Communist Heroes from South America.
So if one can't (or just won't) knit which kind of small acts of resistance do you recommend to people who want to protest against workshop labour?
2) Vote with your dollar (Support sweat free labels, fair trade, worker owned co-ops, etc.)
3) Be sure to know about where your public officials stand on trade, petition and vote
Alessandro Ludovico is a media critic and editor in chief of the highly respected Neural magazine from 1993, (Honorary Mention, Prix Ars Electronica 2004). He is the author of several essays on digital culture, he co-edited 'Mag.Net Reader' (1 and 2). He's one of the founding contributors of the Nettime community, one of the founders of the Mag.Net (Electronic Cultural Publishers)' organization and he teaches 'Computer Art' and 'Interface Aesthetics' at the Academy of Art in Carrara.
I think that's more than enough for a sole man.
Not for him apparently. Not only does he wear great t-shirts*, he also collaborates with UBERMORGEN and Paolo Cirio on artistic projects which have toured the world: GWEI - Google Will Eat Itself (Honorary Mention Prix Ars Electronica 2005, Rhizome Commission 2005, nomination Prix Transmediale 2006) and Amazon Noir (1st prize Stuttgarter Filmwinter 2007, Honorary Mention Share Prize 2007).
When I met him several years ago, i also realized that i had no chance of ever winning the contest for the "Nicest person in the new media art world." Sigh!
How did Neural start?
After being a passionate mail artist and zine fan in late eighties, in 1991 I started working as a graphic designer for Minus Habens Records (an underground electronic music label based in Bari, Italy). After a few months I was in charge to curate a special product: an early slim printed guide to virtual reality (the Virtual Reality Handbook), made out of theoretical text and resources, coming with an inspired music CD. It was sold out in less than a year, so I proposed to Ivan Iusco (the label owner) to found a magazine focusing on new technologies' cultural implications.
We worked hard on it so the first Neural issue was printed in November 1993. Topics ranged from cyberpunk to electronic music, computer art and BBS networks (the popular Internet ancestors), and even if it was almost naive compared to the current magazine it reflected the thrill of investigating a new world of personal communication and content sharing possibilities. In 1995 I continued to experiment with publishing with another hybrid printed/music product. It was called Internet Underground Guide, a guide to the most obscure parts of the rising global network, with a music compilation assembled only via the electronic mail medium (perhaps the first music compilation made on the net). In the same year I was invited to the Venice Bienniale symposium called >net.time<, where, in the end, the homonymous mailing list [http://www.nettime.org] was founded. During the three days of symposium there was such an intensive exchange of ideas and perspectives that a real international network of active persons involved with art, technology and politics was established. The various related international events (Next Five Minutes, 1996, The Beauty and the East, 1997, Net.Congestion 2000, the Italian Hackmeetings 1998-today, just to name a few) that followed were really precious to expand my personal network of friends, artists, hacktivists and theoreticians, reporting some of the most interesting concepts on the printed pages of Neural.
The magazine was developed on challenging ideas, trying to give them a proper visual frame. I cared a lot about design and how it could have expressed electronic culture in a sort of printed 'interface'. So, for example, the page numbering was strictly in binary numbers, just zero and ones, even if the printer started to complain loudly about that because this was driving him crazy. And from the beginning another 'sensorial experience' was placed on the centerfold, reprinting optical artworks and theories in various forms, giving readers an aesthetic mind trip while reading. In issue 18 this habit was definitively interrupted, publishing a disrupting hacktivist fake. It consisted of fake stickers, created by the Italian hacker laboratories' network, sarcastically simulating the mandatory real ones sticked on any book or compact disc sold in Italy, on behalf of the local 'copyright protection society' (called SIAE). On the one published it was printed 'suggested duplication on any media'. In 1998 we restyled the layout and restructured the contents, defining three sections. They still are: hacktivism, activism made through a conceptual/technically media hack, electronic music, investigating how technology is involved in music production and consumption, and media art, with a peculiar attention to the networked and conceptual use of technology in art. In 2000 I used a substantial part of music Neural content for the book Suoni Futuri Digitali (Future Digital Sounds), an in-depth research, chronicling the history of the innovations that have drastically changed how we produce and experience sounds. In 2003 (while maintaining the Italian edition) I started the Neural English edition, printed in 4000 copies. Actually it is distributed worldwide with subscribers from literally all over the world, and most of them are curators, artists, critics, students, professors and libraries. Neural.it website went online in may 1997, a decade ago, and it was updated every two weeks. Starting from November 2000, it is daily updated and from 2004 it's in English (and of course still in Italian too).
Have you seen the readership of Neural evolve over time?
Definitively. In the last 15 years readers mostly followed the fast and furious changes of printed publishing literally disrupted by the online medium advent and the pervasive digital influence in printing production. When we started we had 'letters to the editor' (a sort of ancient blog's comments) and the most compelling sources were found in bookstores and obscure mail orders.
Neural started an 'Internet news' column in 1994, but in a few years things changed quickly. People started to find information online in real time, with amazing search possibilities. This completely redefined the role of magazines, from generic content container, to highly selected, conceptually strong and longer than average content frame. Moreover, it's essential to notice how the readership evolves, and their changing needs.
It's not a question of being shaped by a (niche) market, but to mediate the editorial interests with what's really interesting for the readers, keeping an eye to: language evolution, new technical 'default' (what's not meant to be explained) and new area of interests. It's sad in the last decade that many interesting independent magazines were not able to catch up this fast evolution and had to close. My cultural strategy to survive is to seriously value the readers' feedback. And I'm not really talking about compliments. I receive some, but they are mostly important for the morale. Critics are vital, instead, to understand what is the next thing to modify, change, implement or delete. It's not a democratic process because in the end I take the final decision, but it's a collective help I receive without soliciting. So the magazine's editorial line is changed (even slightly) every printed issue, and the same happens to the website.
Neural is still everyone's favorite even if today several blogs/online magazines, etc. are trying to get a place on your turf. How do you maintain the "cult" status that neural has?
Frankly, I never bored of being 'cult' that means that if Neural is 'cult' that's only by accident. Some people even told me that they think of Neural as a work of art. I don't know whether it really is or not, but actually the website even won an Honorary Mention in Prix Ars Electronica 2004, in the Net.Vision category, and even if I'm a bit critical about prizes, I was honored (anyway in the end I think that my real prize are the tens of thousands of incoming links).
Truth is: I simply use instinct, experience and outer feedback in running the magazine. Sometimes I think of Neural as an info-gallery, the best info-gallery I'd want to read. If you want, it'd be defined as my personal narrative of the digital culture evolution, formed by important chunks of information condensed in a limited space. Concerning the 'turf', I always thought that the more cultural efforts (including blogs and magazines) are made to discuss (and then implicitly promote) digital culture the more we'll get out of the actual ghetto. Nevertheless as John Perry Barlow once said "You can't steal what's inside my mind." And this is true for every intellectual product (so also for blogs/magazines). People are interested not just in one, but in different good products and not really in clones (unless you enter the mass commercial market). Furthermore experience still counts a lot: no matter what's the work I always admire persons really experienced in one specific field. In the end I definitively think that Neural is a huge effort made over time with tons of passion and some discipline. One of the main characteristics of digital culture is spreading fast powerful ideas. A good technical hack, as an innovative use of sound, or an original concept shown in a proper digital artwork, are meaningful signals. These signals are ideas, which have to be shared among the worldwide interested community, for a participative development. The aim of Neural is to vehiculate meaningful ideas within local and international networks. This is my primary purpose.
Apart from kidding, I know it's almost insane. Especially because I'm still obsessed in caring about each step of production, to achieve the best content quality I can afford. But again passion and the inestimable support I receive are continuously motivating me to go on and improve. It's a question of never stop to optimize processes and time management, also improving the gained experience. I'm still chaotic, as you might guess, but I'm definitively committed to continue and to make the project the better and the more sustainable I can. Now Aurelio Cianciotta is the music co-editor and we weekly deal with stuff from almost a decade. Paolo Cirio is the online platform guru, so also the person who made possible the Movable Type-based website (after years of cut and paste routines in html), while Roberto Orsini helps me so much with translations. Among the contributors, Valentina Culatti is the most generous in donating her time to Neural, but also skilled writings come regularly from Vito Campanelli, and Tony Canonico. They are all Italians, but this is only a coincidence and I'm also looking for skilled voluntary contributors from abroad. Going back on how to produce paper and online content, I'm developing a workshop, with Simon Worthington (co-founder of Mute magazine), to share our long experience with other independent publishers. I was a zine fan in the late eighties, so I still think that independent publishing should exploit every digital technology to enrich the freedom of expression many possibilities.
In the beautiful text "Paper and Pixel, the mutation of publishing" that you have written for The Mag.net reader, you talk about the changing role of the printed page. Can you explain us the reason why you keep on printing the magazine instead of relying only on a pixel version of it?
I think that paper is not supposed to die anytime soon. For that text I researched how the 'death of paper' was announced more than once in the past, after some major 'new' media announcement (radio, pc, the net ...). But it simply never happened. Actually, paper is the most stable medium in a crowded mediascape of 'unstable media'. Once produced it doesn't need electricity to be enjoyed and it is mobile as our life is more and more going to be. But, as I said above, we have to face that paper today means luxury. It means having time to enjoy reading in a comfortable way. Interesting paper content is not inducing banal 'flipping pages' habits. It's enticing in spending time on it, without burning your eyes in front of a screen light more or less instinctively clicking somewhere, and having the chance to simply interrupt the reading whenever you want and pick it up again in an arbitrary moment. And especially for specific niche and artistic data, the stability and feel of paper is still unbeatable (it's what I've tried to define as 'the persistence of paper' in an essay published on the Magnet Reader 2). These processes are even more interesting when the content is related to digital culture, because the medium becomes also the place where it itself is discussed. With some of these premises I was invited to join eleven independent editors at the Universidad Internacional de Andalucía in Seville (Spain) in 2002, for a series of seminars and lessons entitled Post-Media Publishing, print-publishing and networks for electronic culture, coordinated by Andreas Broeckmann. It was a unique opportunity to join efforts with other editors and create an informal network of collaboration. So we founded Mag.Net (Magazine Network), Electronic Cultural Publishers. Our motto is "collaboration is better than competition" and we collaborate commissioning contents each other, sharing the knowledge on specific topics (like the online paying platforms, or the print-on-demand technologies), and working jointly on some projects, not necessarily all at the same time. The most tangible effort has been the Mag.Net reader, a book about the digital/printed content relationships, freely downloadable from the Mag.Net website or purchasable as a physical paper book through a print on demand platform. Actually the most active Mag.net members are Mute [UK], Springerin [AT], Zehar [SP], 3/4 Revue [SK] and Neural. Among the latest Mag. Net initiatives were a conference that took place in January 2007 at the Amsterdam's De Balie theatre called 'Offline ? Online Publishing: The Love for Print in an Age of Electronic Media', the Mag.Net Reader 2 that I edited with Nat Muller, and that was launched during the last DEAF (Dutch Electronic Art Festival) in Rotterdam, in April, and the Paper and Pixel week of panels and presentations I curated with Nat again for the Documenta 12 Magazine project in Kassel. Neural was part of this project (involving more than 90 independent art magazines form all over the world], and I was advising them for the online part. Finally in the last September I was invited by ANAT to give some workshops about the history of independent publishing, differences and similarities between online and offline media and how the open source culture can be applied to publishing. I'm editing with Nat the 3rd Mag.net Reader that will be published in 2008.
How do you explain that most "traditional" art magazines are still snubbing new media art?
In (new) media art the fetish physical component, i.e. the marketable object, is often missed. The infinite reproduction of the work of art is a process yet to be digested even by the contemporary art world. So traditional art magazines that are basically funded by the art market, are relegating it as a marginal and (sort of) exotic phenomenon for its economical scale. And we'd also consider the technical side. Dealing with hardware and software, media art aesthetics and narrative could be mind-boggling for curators and institution directors (often in their sixties or even older). Finally we should consider that video art was recognized by the art world only after twenty years from its early stage, because it suffered from similar problems.
And beyond all that, there's a fruitless terminology prolificness that is silently killing the scene: in the beginning it was called 'cyber art', then new media art, digital art, web art, etc. etc.) Needless to say the 'new' term in 'new media art' is already 'old'. But the terminology game based on catching the most recent buzzword and applying it to 'art' is even worst. So we had 'browser art', and then 'device art', 'interface art' or even 'rfid art'. But does it really makes sense?
I think it doesn't, and it endlessly breaks up an ethereal and problematic identity. William Gibson said once in late eighties "there was science slash humanism. Let's start to talk about the slash". I choose not to be obsessed by the most traditional art market, placing Neural on the opposite of new media art "snubbers". So I'm still focusing a substantial part of my personal research on the edges of the so-called 'new media art', on topics like spam, viruses, peer-to-peer networks (the last two developed thanks to the support of Franziska Nori) and how the 'perfect' marketing strategies of online giants can be 'hacked'. My humble opinion is that they are all possible testbed of future standard communication protocols, and so media potentially used for propaganda and mass marketing.
Unfortunately, Italy is not the ideal country to develop digital art projects. We have too much ancient and classical art heritage to hope for serious institutional support in contemporary art (and even less to digital based art). Nevertheless, there are persons with which I share some of my working paths. For example the 'Scuola di Nuove Tecnologie dell'Arte' (School of New Technologies in Art, part of the Carrara's Academy of Art) directed by Tommaso Tozzi is one of the national points of reference. I totally share his passion on the subject (for example he's developing an important collective and shared WikiArtPedia project on the Networked Arts history), and I was very happy to join the school actually teaching 'Computer Art' and 'Aesthetic of Interfaces' courses. But there are many different small initiatives around, and recently it seems even trendy to claim a Saturday night vjing in a small club as an 'electronic art and music festival'. My favorite festivals are Interferenze and PEAM in the center-south and Share in the north. In this field my personal experience goes back to 1996 when I was actively supporting the group that made one of the first 'new media art' exhibitions with Italian artists called Virtual Light (Aurelio Cianciotta was then one of the curators). It definitively was a success, but the curators had already spent two years to convince the municipality to fund the effort. My first reference in early nineties was Decoder, an underground magazine that introduced the concept of cyberpunk as a political movement, including art expressions at large. Actually the mailing list AHA - Activism, Hacktivism, Artivism, moderated by Tatiana Bazzichelli is the most popular electronic forum on electronic art in Italy. Generally speaking, anyway, there are Italian digital art productions more aesthetically oriented (Limiteazero, 80/81, Luigi Pagliarini, Chiara Passa, just to name a few well known, but there'd be way too many to cite), and the one with a specific political background. Among the latter, the Luther Blisset initiative (that I consider one of the most important cultural event in the nineties) influenced subsequent groups and initiatives as the 0100101110101101.ORG, epidemiC, Serpica Naro and many others, and on the same wavelength there are Molleindustria, Candida TV and the whole Telestreet movement with the New Global Vision archive, Dyne.org free software house, Sexyshock, my colleague Paolo Cirio, again only to name a few. Finally, even if it's not recognized as 'art', I think that the Hackmeetings are really a performative collective 'art' event. It's a hacker meeting completely self-organized through a mailing list taking decision on every aspect of the meeting with an anarchic playful spirit and gathering nonetheless a few thousands hackers in a different place every year from a decade, sharing knowledge and establishing/reinforcing human relationships and political awareness. I attended all of them from the beginning (except the last three), because of the incredible atmosphere and the deep social exchanges that I had there. But to answer your last question I think that Luca Bertini has not yet gained some (well deserved) attention, and it's a real pity because I think he's one of the most inventive and controversial Italian media artists. Finally in spring 2008 I'll start the 'Neural Archive' project, creating an online database of bibliographical references to all the physical stuff I have in my personal archive (books, dvds, cd-roms, ephemerals), to create a free online resource for researchers.
Together with UBERMORGEN and Paolo Cirio you have realized Google Will Eat Itself, an artistic project that aims to buy out Google with funds generated from Google Adsense. How did google react to GWEI?
Well, the official reaction of Google was a 'cease and desist' letter of their German branch. But it was very different from the other 'cease and desist' letters I've seen, it was a sort of confidential letter, not the usual cold lawyer-lexicon style one. But nevertheless even more frightening. It basically said, "ok, we understand it's art, but you have to stop it now". It matches what I think is their status of 'funny dictator', as I've tried to define it. In fact there were so many mysteries and strange facts during the project that I and Hans Bernhard did a whole lecture/performance on that at the v2's TANGENT_CONSPIRACY night, in December 2006 (video). Furthermore Google Italy, indeed, terminated the Neural.it AdSense account without any explanation. I think that was quite stupid because Neural.it has never been part of GWEI (this was clear from the beginning to all of us). But Goggle Italy was too blind minded to understand that, so just after being invited to a public debate with me and Paolo, they simply refused to come and terminated the Neural account because of 'fraudulent clicks' that never happened there. But you'd take in count that they grant the AdSense money so they can anytime decide to terminate your account without any real proof. That's also part of what I defined as their 'porcelain interface'. GWEI was for me one of the most fascinating experience I had: it was (unexpectedly for me) incredibly successful and it let me experience for the first time the artistic dimension inside a very skilled team, so sharing with Hans, Liz and Paolo all the (good and bad) moments. I'm really grateful to them.
Let's talk about Amazon Noir. What are the latest developments? Has Amazon reacted to the project?
Amazon noir is still going on with its most visible outcome: the stolen book files. We're still re-embodying them in different forms. We developed an installation that physically (and very symbolically) embodies the project. It consists of two overhead projectors displaying the logo and the diagram of our software internal mechanisms, and an incubator with one of the stolen book inside, reprinted digitally. Symbolically we chose the American counterculture classic from the seventies 'Steal This Book' by Abbie Hoffman. We in a way re-embodied the book (obtaining cover and complete textual content from Amazon) in its mutated physical form. But we also placed a warning near the incubator. It stated: "The book inside the incubator is the physical embodiment of a complex Amazon.com hacking action. It has been obtained exploiting Amazon 'Search Inside The Book' tool. Take care because it's an illegitimate and premature son born from the relationship between Amazon and Copyright. It's illegitimate because it's an unauthorized print of a copyright-protected book. And it's premature because the gestation of this relationship's outcome is far for being mature." That was why I thought that we 'stole the invisible' [http://amazon-noir.com/thieves.html]. It's an installation showing a net art piece without any IT or internet connection. Actually, various people tried to steal the book opening the incubator, claiming that they simply do what is written on the cover (we personally kindly asked some of them to put the book back, and one of them actually succeeded in stealing it during the Shift festival opening in Basel and we had to find out how to replace it quickly). This is also a proof that, ironically enough, it was also very 'interactive'.
About the Amazon reaction, they reverse-engineers the software, making the robot useless. We, indeed, spread all the books we downloaded through peer-to-peer networks (bittorrent, gnutella, fast track, emule, etc.).
The installation was exhibited in various museums and festivals in different countries and it has been actually nominated for the upcoming Tansmediale Award 2008. I've tried to conceptually develop a whole theoretical concept about the big online corporations marketing strategies and their potential hacking in an essay entitled "The (online) economy of desire". It'll be online soon.
*here's the way to spam-clothing bliss.
Forays is a low profile (that's their words) artist group strung somewhere between New York and Montreal whose work focuses on the research and creation of open-source minor architectures and low-tech modifications of everyday life.
Forays is Adam Bobette and Geraldine Juárez.
Geraldine Juarez is a self-taught designer and an artist from Mexico City based in Brooklyn, New York where she is a Senior Fellow at Eyebeam and play around the city with Forays. She is a drop out of Communication and Graphic Design of a university in Mexico City and worked in advertising for several years doing visual effects in Mexico City, New York and Los Angeles. Her current interests are low-tech crafts and artifacts. Most of the time she obtains her supplies in trash bags, by freecycling or by hacking public sites.
Adam Bobbette is a writer, researcher and artist based in Montréal.
What started as an innocent conversation between Geraldine and i about the Postal Gown she was modeling around Williamsburg during the Conflux festival escalated into a fully-fledged interview about her, and mostly the works she's currently working on together with Adam. Here we go:
Hey Geraldine, you write that you find your supplies in trash bags, freecycling or by hacking public sites. Sounds interesting but we'd like to get more details. How does one hack a public site? can you give us examples too? And what is freecycling?
G:. I read once that hacking is the creative adaptation to immediate circumstances. I switched not so long ago from purely digital work to more analog and tangible object production and I had to learn electronics from scratch, a bit of code and a whole lot about materials. I started hacking the city accidentally. I was working a lot with paper and electronics and I needed something that I couldn't afford. Looking online for alternatives I found it freely available in the public infrastructure of the city: the postal office. Not paying for my source material was a complete delight and I pushed it forward. Picking stuff from the street in New York is nothing new, everybody does it. There is a royal amount of quality waste all around the city. However there is an easier and more social way to get specific things that you need. Freecyle is a simple yahoo list that let's you ask and offer things for reuse. Most of the time the craft materials are just surplus so you get perfectly good stuff for free. Often I found just what I needed and it was an opening to start wandering around the city to get what I need and most important, interacting with the moneyless layer of New York City.
Together with Adam Bobbette, you work on the Forays projects. How did you get to meet and work together? Does each of you have his or her own skills and knowledge that complete the other?
AB. Like yin and yang? Like milk and tea? Like diamonds and roughness?
G:. it's actually not like that at all, we don't really like each other. We met in Eyebeam. I knew he wanted to work with steam and I thought that was wicked but he was too cocky so I didn't want to talk to him. One day I stole a little kaleidoscope from his desk. I confessed to it and then we found out that we both were into folding stuff, trash and useless things. He is a luddite and I'm more geeky. He speaks French and I speak Spanish, so it helps to create confusion.
AB. We always have experiences to share about crossing the American border, which is a strong bond.
G. Also, we really work hard to keep it low and that's really encouraging. Adam has trouble with authority while i have it with sustainability and environmentalism. He likes space and i like materials. We both find waste inspiring. We like the idea of creating pieces that make you realize your space and environment in a more beautiful and accidental way. Since we come from different worlds we are constantly questioning what it really means to step into these arenas like activism, art, architecture. We are also really afraid of how art goes, and we don't know how to slip in and come out clean. And yeah we don't like each other.
AB. Which makes for this great productive confusion. Collaborative work is mostly frustrating.
G. And there are others we work with too, wonderful, distant others.
AB. And some of them like you, Jerry.
AB. We do a lot of our own stuff and sometimes just fall into each other's projects mid-way, towards the end or drop out from the beginning. But it's definitely important that we are surprised by what we work on individually. Or, it's great to be surprised by how differences end up overlapping.
One of your pieces Field Notes addresses the ways in which the delineation of interior and exterior or private and public space can be used towards political ends. Using cocoons, you and Adam propose open source architecture and hacked materials as forms of grassroots activism. Can you give us more details on that? Which materials you use? And how the cocoon can be turned into OS architecture?
A-- G: The basic nature of the cocoon is to turn the structures and infrastructures of the city into a vehicle for experimentation. It might need space, it might need a certain material, it might need a certain action to hang it. When a cocoon needed certain materials, it made us go and find it around, explore sites and slip into and through cracks to get it. This gives us the chance to hack infrastructures. When the cocoon needs to be used you have to look for space: a scaffold, a tree, a fire escape, which enables reclaiming some lost space. Also, the cocoon is meant to be a tool for tactical occupation, like in the case of More Gardens --
AB. A kick ass New York City community garden advocacy group that saves community gardens from being destroyed by the city
G. -- Either for tree sitting or for creating a temporary squat, when you slip into a cocoon you slip into a tool riddled with the potential of continually evolving.
AB. With the cocoons we weren't really so interested in focusing on the objects but on the whole network, the whole approach that building and thieving, freecycling, skill sharing and trespassing gets you into. I mean, we personally really cared about the objects but that was not what we wanted to show to the public. That stuff is personal. What we do care about is pointing in a direction; towards techniques of trespass, of building, of acquiring materials. It was important to provide entry points into the very material circumstances and consequences of art making.
The kind of materials we were using were things like construction netting hacked from construction sites. To get them you climb up inside scaffolding and cut out some chunks. We also used modified Tyvek postal envelopes grabbed for free from post offices around New York. And, 1 dollar beach mats. These are the main materials, but there is tones of other stuff, mostly culled from construction sites, hardware shops, outdoors shops and the street.
Open source architecture refers to the way that we hoped to distribute a process of building, not instructions on how to build a particular thing. We had to break codes and hack systems to build the cocoons and what we are interested in distributing are the techniques we used. We don't think any body would be really all that interested in reproducing the objects we produced, but the techniques could help people build their own stuff or at least take an adventurous approach to buildings. We are just hoping to pass on a very basic program for experimental architecture.
What does one of these cocoons look like exactly? Can you sleep in it?
A-- AB. People have said they look like many things. Some people think they look like body bags, which I kind of like. Some people think they look like jewels, some say they are just hammocks, some don't really know what to make of them.
Yes, you can sleep in them. We have and will continue to. There is this whole experiential side, as you can imagine, to sleeping in trees and hanging up against scaffolding, strapped to some edifice under construction like you were, well, a little larvae grafted to structures. Which you are already, with or without some cocoon.
G. They are really a simple hammock. However the material and the way in which they are built, make them what you want them or need them to be.
And how about the Craigslist chapter of the project? How did it go and did it encounter the kind of response you were hoping to get?
A-- G. Well, Adam got all those emails. Actually the Craiglist chapter are the origin of the cocoon. He was trying to advertise free space for people to occupy as well as describing this kind of poetics of squatting. Squatting not only as a political strategy but also a creative architectural endeavour.
AB. Craigslist is a funny place. It was really a way for us to talk to an audience that would otherwise have little relation to this kind of work (though maybe we're making bogus assumptions). And, yeah we had great responses ranging from sincere interest to total confusion to pick-up lines.
I like the "swing actions�? a lot. How did the public react to the swings? Do you know if the idea has spread around?
A-- AB. It's pretty hard not to love swings even when they are set in places they shouldn't be; they are pretty benign objects. Everybody loved them, from construction workers who would tell us we 'gotta patent that shit', to passersby, and of course, kids. But this is why they can be a decent introduction or gateway to more intense experiences of disruption, or of bending and twisting space.
G. I was just the trooper. I had to wait in line to use the freaking swing. The pictures I took are beautiful though.
Did you ever get into trouble for installing swings and portable squats?
A--G. Not a real problem. Some building porters that double as mini-cops...
AB: So many people in New York city are mini cops...
G. Some have come to us to ask what the hell we are doing, but often people give us a break to finish or even let us keep going. You would be surprised by how many public servants are tamed by the word "art". It's really the best antidote or word you can use to dissolve confusion and tension. We just published recently 'How to Unload bags and Practice Failure', a description of getting busted and the function of the "artist�?. Why don't you read it. It's my favorite project.
I want to know more about 100% Local Irradiated Food. And that TV set that you turned into an Edible Excess Machine. What was the impetus for that project? How does the EXM work?
A-- G. Oh! The EXM doesn't work.
AB. It is a symbolic machine. We have been inspired by freeganism for quite some time and wanted to build a machine that spoke to the very interesting contradictions of freeganism, the same contradictions that underlie so much of our own work. I was excited about the machine because of the way that it spoke to all of these interesting problems of the excess/consumption, host/parasite relationship.
Basically, parasitic activity requires the very consumer society it deplores in order for it to survive. Freegans would be impossible without the excess generated by consumer society. Their activism, their scavenging, which is a totally justified protest against this consumption at the same time depends on it. So, in their own ideal world they would not exist. In a way they are fighting for their own disappearance as a group. That's interesting.
What the machine is supposed to do is allow you to turn absolutely anything (garbage, bricks, old tires) into edible waste by irradiating it and swallowing a laxative. A perfect circle. A perfect impossibility. If it were true, at a certain point, you would end up turning your own self into edible waste.
We built it as a workshop at Eyebeam. Jerry and some excellent workshop folks built a commercial around the EXM. We hope to eventually get a feature in Martha Stewart's magazine.
G. I have a crush on garbage bags so I really wanted to do something directly with them. The idea came up actually because someone told us that you can actually create x-rays out of a tv.
So the project is meant to raise attention to the enormous amount of waste we produce everyday, right?
G. We are trying to make clear the fact that while everybody goes green, local and organic our waste will remain there. It's about excessive consumption. If everyone is really really interested in being sustainable, how about eating your own waste? THE EXM is as retarded as green capitalism.
There's a strange little device on your website. It's called Bucky and seems to implode. Can you tell us something about it?
A-- AB. This is Jerry's killer project and she thinks more clearly about it than I but we do share this distrust of Mr. Bucky Fuller. He is still someone that we have to contend with, maybe one of the most important idols that we have yet to destroy. He is really this figure head of all of this naïve technological optimism that threatens to murder anything that was once dangerous and/or interesting about sustainability.
G. The Bucky is an exploding microcosm contained in a dome. It simulates the illusion of cheap and easy sustainability and environmentalism based on the commodity. Saving the world has became a commodity that you can buy in Whole Foods and every other shop on the block and it's really pathetic. Why is being green even an interesting future? Honestly, it looks all the same to me.
AB: Isn't it just the same as the present except that people will feel guiltless about their consumption, about their excesses? You know, I feel like sustainability even has enough room in it's future for things like solar powered tanning salons and ways to power your television set by the energy emitted by burning your own calories. And all sorts of other "neat�? stuff.
JG. For me, a sustainable future based on consuming "with the earth in mind" is the ultimate social disaster. I prefer to stop preparing for the upcoming natural disasters and start acting on the social disaster around me, like consumer capitalism.
The Bucky's are based on Fuller's Geoscope: This globe that allows you to see the big picture and help humanity somehow to "anticipate and cope with inexorable events". Bucky I is a forest made of money that explodes. Pure illusion. My Bucky is meant to mimic the actual fragility of 'Space Ship Earth'. Green or not. I really want to destroy this illusion of "saving" the world going "green". I don't think we are going to "save" it. But i do believe we have to go more dark in order to learn how to live on it from now on.
During the last edition of Conflux, I saw you walking around with your friends wearing some pretty Postal Gowns. How can I make one? Can you give us a little step-by-step?
A--AB. Regine, haven't you heard how damn stubborn Jerry is with instructions these days? She avoids them like she had a nut allergy or something.
JG. Uff. Don't even get my started. What's with this obsession for systematization? Yeah i don't like instructions, but actually some people really dig instruction sets and they even think they allow you to show how instructions for anything always rely on some impossibility and the unthinkability of chance.
Well my allergy to instructions is that i don't think there is a possible way to break down into steps things that are not technical, and maybe i really want to move over the technical. I like to share information yes, but i think we have to subvert the way we share it some how too. Instructablism is getting a little boring to me. To make a Postal Gown first you need to get some material for free by any means. And this can be as broad as you want. Hacking, thieving, freecycling. You have to make an effort to avoid money exchange. You have to learn how to step into strangers homes (it's really weird sometimes as well as interesting), receive something and take responsability of it.
Once you got your material:
(You need a pattern and a sewing machine)
1. Cut your pattern
2. Sew both parts together,
Thanks Geraldine and Adam!
All images courtesy of the artists.