THE FUNAMBULIST is a bimestrial printed and digital magazine complemented with a blog and a podcast (Archipelago) edited by Léopold Lambert. Its subtitle, "Politics of Space and Bodies," expresses it ambition to bridge the world of design (architecture, urbanism, industrial and fashion design) with the world of the humanities (philosophy, anthropology, history, geography, etc.) through critical articles written by long-time collaborators as well as new ones.
Over the past few years, i've been following Lambert's investigation into how the built environment is used as a political weapon. Much of the content the architect produces is free. But because Lambert's work is of high quality and pretty unique for the grounds it covers and the rigorous way it approaches it, it felt natural to me to just click on 'buy' as soon as i found out he was publishing a magazine.
The Funambulist magazine is bilingual french and english. This first issue looks at the violence of military organization in the city and postulates that the violence is not necessarily something that come from the outside. In many cases, the architecture of the city contains this very violence within itself.
The first part of the books analyzes in depth 5 specific case studies: Beirut, Lahore, Jerusalem, Cairo, and Oakland.
Since 2009, Mona Fawaz, Mona Harb & Ahmad Gharbieh have been mapping security in Beirut. The temporary checkpoints, security cameras, screening measures in large department stores, barbed wires, speed bumps, sand bags, tanks, and other physical elements of the security apparatus not only condition the way inhabitants navigate the streets everyday, they also install a segregation that shelters politicians and "high income city dwellers" inside their own bubble. More importantly, these security measures create a visible architecture of fear that affects every citizen's experience of the city.
In her research covering bomb blasts in Lahore, Sadia Shirazi calls this Pakistani city one of the greatest unacknowledged casualties of the United States' "war on terror." She demonstrates convincingly how security apparatuses delineate boundaries, reduces public space and restrict movements and experiences of the city. The result is a city that looks more threatening than secure.
Mohamed Elshahed focuses on the multiple forms that the militarization of Cairo has been taking since 2011.
The Demilit group (Javier Arbona, Bryan Finoki & Nick Sowers) takes a bunkered telecom hotel tower as a symbol of how the city of Oakland is being vacuumed by a consortium of public and private security agencies.
Finally Nora Akawi uses the poster designed for Bezalel Academy of Arts and Design's 2015 graduate exhibition as a starting point to explores Jerusalem and the Zionist's fantasy of an empty land, open to be inhabited and built upon. While denying Palestinians the possibility to plan for the future
The rest of the publication is equally engrossing. It features an interview with Philippe Theophanidis about the legal and logistic processes that govern a 'state of exception' such as the one that characterized the manhunt of Boston in April 2013 when 2,500 police officers were deployed in the city to arrest Dzhokhar Tsarnaev for his participation in the Boston Marathon bombings 4 years earlier
Next comes an astonishing photo series showing Jerusalem from above. The most striking feature of the photos is the wall. Not the ones that attract tourists from all over the world but the 500 km wall started in 2002 by Ariel Sharon.
The magazine closes on a series of projects by students in architecture that further speculate and investigate these Politics of Space and Bodies.
I highly recommend that you either download or get the paper version The Funambulist. The pages make for an interesting and informative read that stay with you long after you've closed the magazine. The essays, photos and discussions invite readers to look at their own city in a more critical and inquisitive way, making it hard not to question every barrier, new 'security' measure, parking interdiction, private security booth and other, more subtle way to control the flow of citizens.
You can still get plenty of free content on The Funambulist blog and on the Archipelago podcasts but this first issue of the printed/digital magazine is so good that Lambert's work is definitely worth a very affordable subscription.
Once in a blue moon i write a quick review of Neural magazine. I should do it for every single issue, really. It is that good. I'm not sure issue 51 (themed Revive) is officially out already but since i spent the weekend with it, i couldn't wait to write a few lines about it.
One of the reasons why i like the magazine so much is the way it mixes and matches efficiently short articles about media artworks, music or books with long, insightful essays, festival reports and interviews. So that's the fast and informative formula of a blog combined with the lengthy and reflective pace of a magazine (and yes, i'm conscious i'm making generalizations about blogs vs mags here.)
Neural follows three main threads: new media art, e-music and hacktivism and i'm going to scramble everything in this quick overview of what grabbed my attention in the magazine.
First of all, the installations and other art projects. Some completely new to me. Others that made me think that Neural, Creative Applications and wmmna are on the same mailing list for many artists. Which, obviously, makes perfect sense.
Re-creating the crystal radio design widely used during WWI, the Crystal Line device broadcasts a text to speech version of military news and 'future of warfare' chatter culled from various defence blogs. Initiating a bit of a temporal loop, an encounter with the radio curiously juxtaposes the crucial moment that the 'zone of control' in warfighting extended into the electromagnetic spectrum with military R&D's ceaseless march forward.
The clever Cuckoo, by Jochen Maria Weber, uses social network in order to communicate privately. Cuckoo encrypts messages into randomly generated words, meanings and noise and then scatter them over multiple communication networks. Any receiving Cuckoo-unit will then filter and decrypt the important posts.
In Biophonic Garden, sprouted corn seeds are submerged into water. A constant sine tone of 220 hertz is played into the water which makes the roots bend towards the sound source. The phenomena of plants reacting to acoustic stimuli originated from scientific research into plant bioacoustics and is used in the work to raise questions about the communication of plants and the acoustic environment we humans live in.
The intriguing Aurelia1+Hz / proto viva generator uses jellyfish to explore how living organisms can interface and interact with machines (that's if i understood correctly what the project is about.)
I was also pleased to find in the magazine a series of reviews of books i didn't know of and of books i've read but haven't reviewed yet (and will probably never review because i'm so easily overwhelmed by life.)
An Atlas of Agendas. Mapping the Power, Mapping the Commons is a political, social and economic atlas: informing the public about socio-political power structures and activating opportunities for the self and the commons. Also it's by Bureau d'Etudes. Meaning that i need to get my hands on a copy ASAP.
Speaking of being greedy, i'm going to nab one of those as well: Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism, by Christina Dunbar-Hester.
Plants, Androids and Operators - A Post-Media Handbook (which is also available as a free PDF) documents --in essays, images and art projects-- the contemporary post-media practice.
Issue 51 of Neural also counts with a few remarkable interviews with remarkable people: sound artist Graham Dunning who works with found materials and 'unwanted sound', media archaeologist and net art archivist Ben Fino-Radin, artist Constant Dullaart, that witty GIF goddess called Olia Lialina, artist/author/curator Jon Ippolito, ...
The jewel of the crown of Issue 51 is the interview with Gabriele Zaverio from the Museo dell'Informatica Funzionante (the Working IT Museum) in Palazzolo Acreide, a small town in Sicily. What a great place and community this museum seems to be! The Museum has collected over the years some 2000 historical pieces (some of them dating back to the 1940s) and is constantly repairing computers, organizing workshops and exhibitions, preserving documents in digital format and sharing everything with the public (there is a lot to browse and gape at on their website)
Also in Neural lots of CD music review. And festival reports. But i have to draw a line somewhere, this post is getting a bit too long and enthusiastic.
The third edition of the magazine Facta - Revista de Gambiologia is out. As usual, the texts are in Portuguese and English and the content is brilliant.
Facta is an experimental publication orchestrated by Fred Paulino and the Gambiologia group. The first issue of Facta addressed the 'science of Apocalypse', the next one looked at people who accumulate, collect and re-purpose. This issue is all about the hacker culture, poetics and ethics in all their guises and deeds.
I'm waiting from my paper copy to arrive from Belo Horizonte but in the meantime i had a quick look at the online edition of the magazine. It's already available on ISSUU. As are Gambiologia's previous publications. Hurray!
So what's inside? Things you don't expect and things you expected, only approached from a new angle.
Some of the articles explore hacking very directly. With a history of society's perception of hacker. Up to today and what Brett Scott calls 'the gentrification of hacking' (meaning that pretty much anyone likes to call themselves a hacker, especially people busy making money in Silicon Valley.)
Or with a portrait of/homage to Aaron Swartz, the hacktivist and computer programmer who believed that knowledge should be available to all. His Guerilla Open Access Manifesto is also featured in the magazine.
I also liked the little tour of hackerspaces around the world: Bogohack in Bogota, Hacker Space Palestine in Gaza, Ihub in Nairobi, Raul Hacker Club in Salvador Brazil, Xinchejian in Shanghai, MadLab in Manchester, etc.
I discovered the existence of Kids Hack Day in Facta. KHD, which ethos is summed up in School is dead, learning is not, is a one-day hackathon in which children are invited to open up everyday objects and rebuild, re-purpose, reinvent them. The experiment started in Stockholm and rapidly spread to other cities.
However, many of the articles put hacking into a broader context. Dispelling any misconceptions we might still have about hacking/hackers, looking at how the hacker ethic can be applied to all areas of life and calling for hacker culture that would focus more on social and ecological processes, rather than just technology.
Brett Scott wrote Hacking the future of money. Setting up a financial hackspace in which he explains why he is setting up The London School of Financial Arts, a space where creative minds apply the hacker philosophy to the financial system.
Maria Ptqk has a witty article about reality hacking that goes from Yes Men's stunts to patterns of open sources technologies.
There's also an essay about Steganography. The Art of Writing Hidden Posts. Steganography is the art of hiding message into message, image or objects. So it is a bit like cryptography. Only sneakier because you will probably never know there is a crypted message somewhere in front of you. Unless you look for it. Apparently, it's one of Al Qaeda's preferred mode of communication.
There's an essay on Houdini, 'Sense deprogrammer and supernatural debunker' who was also working as a spy for US and UK secret services.
And i learnt about MSST, Movimento dos Sem Satélite (Movement of Peoples without Satelites.)
Of course, Facta also contains some great little tutorials. One shows how to resurrect and transform a burnt out bulb (a project by Thomas LEDison). Another explains how to make homemade hydrogen to inflate balloons.
We need more mags like Facta. It's critical, smart and passionate. And it's made by doers who are not afraid to dip their toes into theory, history and the social dimensions of technology.
This way to buy a paper copy.
HOLO - a magazine about emerging trajectories in art, science, and technology.
Published twice per year, and weighing in at more than 200 pages, each issue of HOLO provides intimate views into fascinating studios, workshops, and institutions around the world, as seen through the eyes of stellar photographers and talented writers. The pace, depth, and sensibility of print allows us to invest heavily in each story, and draw on months of travel, research, and conversation to craft nuanced portraits that you won't find anywhere else.
HOLO is what happens when enthusiastic minds meet and decide they'd like to use a paper publication to share their passion about creativity and digital technology. The magazine is ambitious, elegantly curated, impeccably illustrated and intelligent. It also manages to convey a feeling of warmth. HOLO opens the door to artists and designer's studios for in-depth conversations and intimate moments. I loved seeing a photo of some of the trophies won by David O'Reilly, dozens of them are casually crammed up on a closet shelf in his L.A. flat. And HOLO is full of little, human touches like that. The content and tone of the interviews in HOLO are not the ones you'd find in your run-of-the-mill interviews. They are incredible conversations between people who have a lot of respect and understanding for each other's work. I love reading about the working life and ideas of David O'Reilly (who wouldn't?), Semiconductor, Zimoun, Philip Beesley, Raquel Meyers. And Wolf Lieser! The founder of DAM, a Berlin gallery selling and championing digital art, has quite a few eye-opening comments on the relationship between digital artworks & the art market.
HOLO also contains essays, called 'Perspectives', that look at the 'emerging representational and perceptual paradigms'. I particularly enjoyed reading an essay on surveillance by James Bridle who manage to give a new twist on an already much discussed issue, and a text in which Greog Borenstein details 'debug view art'.
HOLO closes its over 200 pages on a brilliant and witty "Stream' that charts the most interesting moments of the Summer/Fall 2013, reminding us in the process that we're so absorbed by the now and the next that we've forgotten how exciting our near past has been. The time line mentions lab-grown burgers, discussion on conservation in the computer age, royal pardon for Alan Turing, a robotic petting zoo, etc.
So there you are! HOLO is a beautiful world inhabited by talented and enthusiastic people and I spent a great time immersed into HOLO but it's not my world. Which is both criticism and praise...
I'm obviously interested in "emerging trajectories in art, science, and technology" (i've been writing about it for 10 years after all) and it is stimulating to see that other people are covering the same areas of creativity from a radically different perspective.
I like everything i find in HOLO: the splendid photos and design, the dense texts, the people involved in the project. I could go on and on. But i do feel that HOLO could engage a bit more with the broader cultural context, it could develop a more critical voice while maintaining much of its contagious enthusiasm for all things digital and interactive. But maybe that's just me, maybe i should stop looking for the potentially worrying political, ethical and social impacts of technology everywhere. We are living maddening times and publications like HOLO allow us to think of something else than crisis, social inequalities, the NSA, speculation on the future of the planet, etc. Both criticism and praise, thus.
I need to add that i did feel a bit uncomfortable when i realized that very few women had been involved in the mag. Gender balance has never been a big concern of mine but i couldn't help but notice that only a handful of women are featured as artists/designers or are part of the editorial team. It would also be good to get outside of our comfortable Northern America/Europe/Japan media art bubble but i guess we all struggle with this.
Anyway, do get a copy. Really. It's ridiculously affordable, smart and entertaining. You'll cherish it for years to come.
This month, i've been reading...
I recently discovered that Aksioma (the Ljubljana-based Institute for Contemporary Art exploring projects that utilize new technologies in order to investigate and discuss the structures of modern society) was publishing brochures about the work of some of my favourite artists and activists: Jill Magid, SOCIÉTÉ RÉALISTE, monochrom, Trevor Paglen, UBERMORGEN.COM, Frederik De Wilde, etc. The last issue is dedicated to the work of Evan Roth, with a special focus on the selection of works displayed in his show Flight Mode. I wrote that one. This will probably sound ridiculous but i usually avoid mentioning any extra-wmmna activity at all costs. However, i had so much fun writing this text, i don't even feel embarrassed sharing it with you. Here it it in all its PDF glory.
One of the best surprises of recent months was receiving a parcel containing the latest issue of FACTA, the magazine of Gambiologia, the Brazilian art and science of kludging. It's punk, it's upbeat and incredibly smart. The first issue addressed the 'science of Apocalypse' and this one is all about accumulating, collecting and re-purposing.
The publication explores the theme under various angles. I loved the text on 'scrap artists', from the Dadaists to Chinese farmer Wu Yulu and Brazilian eccentric Farnese de Andrade. Tutorials will teach you how to make lamps and 'alarms' to protect your collection. An essay on fast fashion explains why 'to collect is quite different from collecting'. And i need to mention the story of the ultimate compulsive 'hoarders': the Collyer brothers. They died among their garbage. The police had to dig for 5 hours until they uncovered the body of Homer Collyer behind an accumulation of books and debris. The decomposing corpse of his younger brother was found 2 weeks later, ten feet from where his elder had died.
To buy a copy of FACTA, send an email to euquero at facta.art.br. And because they are that nice and generous, the Gambiologia team also uploaded the magazine on ISSUU.
I still need to wrap my head around the fact that the award-winning magazine Neural has just turned 20. That's 20 years championing new media art, electronic music and hacktivism! To celebrate the achievement, Alessandro Ludovico and his team have recently published a bigger than ever issue (#46), "Unearthed: The 20th Anniversary Issue." It contains 'visionary' interviews (from William Gibson to Jodi!) and articles published in its first decade and available for the first time in English. And if you're a subscriber, you will also get the "First 20 years" poster.
You can also subscribe to the magazine Digital Edition accessing all issues since #29. It's only £16.50 for one year. That's such a reasonable price, it would be rude not to jump on the offer.
Aspect: V21: A Good Place to Stop! The title of this issue of the dvd-magazine is literal: this is the final stop for a publication that, in 10 years & 26 DVDs, has shown, promoted, curated, archived and put into context the works of over 200 artists working in new or experimental media. While i understand and respect the editors' decision, i'm going to miss Aspect. I liked it a lot, you see. While any artwork benefits from being seen 'in the flesh' rather than on the pages of a magazine, time-based works usually need the addition of sound and video to be better appreciated. ASPECT: The Chronicle of New Media Art gave the public the possibility to enjoy an artwork at their own pace: each work is introduced by a brief statement from the artist, it is then shown in its totality both as it would be in any art gallery but also in a version that shows the same video with optional audio commentary by a curator, theorist or educator who discusses the background and meaning of the piece.
Aspect: V21: A Good Place to Stop presents 8 time-based works that explore the concept of endings. Either literally or metaphorically.
This electromechanical sculpture was 'born' in Nashville, Tennessee on 2 June 2012. It has been programmed to have the average human lifespan of babies born in Tennessee on that same day: approximately 78 years. The kick drum beats its heartbeat (at 60 beats per minute), and the mechanical counter displays the number of heartbeats remaining in its lifetime. An internal, battery-operated clock keeps track of the passing time when the sculpture is unplugged. The sculpture will die once the counter reaches zero.
Pilvi Takala, Real Snow White (video excerpt)
Pilvi Takala's Real Snow White is by far the most charming and absurd work in the selection. The young and pretty Finnish artist arrives at Eurodisney in Paris dressed as White Snow. Soon children want a photo and autographs from her. But her adventure will end before she can even pass the gates of the entertainment resort. Takala is asked by a security guard not to enter because the 'real' Snow White is already inside. That could create confusion. Besides, what would happen if the 'fake' Snow White does 'something bad'? The conversations between the artist and members of the security team sounds laughable. Unless you know about Disney's thirst for trademark and its application pending with the US Patent and Trademark Office for the name "Snow White", which would cover all live and recorded movie, television, radio, stage, computer, Internet, news, and photographic entertainment uses, except literature works of fiction and nonfiction.
There are 6 other works to discover inside the new issue. Grab yours here!