Karl Philips is a Belgian (h)activist, performance and conceptual artist. I discovered his work a couple of years ago when i visited the exhibition Mind the System, Find the Gap at Z33 in Hasselt (BE.) But i really took the time to click around his portfolio when my favourite blog selected him for its watchlist.
Philips casts a critical but always witty glance at society, paying particular attention to cracks in consumerism, town planning, advertising, and turning upside-down their logic. He is also one of those artists who understand that, to have any impact, activist art is best deployed in the street, not just inside the white walls of a museum or gallery.
Some of his projects involve hacking a street lantern to provide passersby and local inhabitants with free wifi and power, dressing like a train seat to cross Belgium by train, screening movies streamed from Youtube in a drive-in movie theater set up under a bridge, substituting ads on billboards with a map detailing how survive in the city of Hasselt without any financial expenses, etc. Pretty simple and pretty brilliant.
Hand Pump Car, 2014
Philips has a couple of exhibitions up right now. He's part two group shows. One at the gallery Dauwens & Beernaert in Brussels. The other in Rotterdam. Hopefully, i'll get a chance to be in Antwerp (lots of exciting shows coming up at the Photo Museum!) to check out the sculpture he'll be premiering next week for the group exhibition A Belgian Politician at Marion de Cannière Art Space. In the meantime, i got on my laptop and asked him for an interview:
Hi Karl! Your About page talks about "a mild kind of activism" that is inextricably linked to your work. What is mild activism? How does it manifest itself? And can a mild form of activism have an impact too?
I 'm convinced that real change or influence only manifests itself indirectly. In the long run I think it's better to do so through art or culture than through direct radical activism. I think the term "mild activism" indicates a different tone.
I'd be interested to know more about Mia, the homeless woman who came to live inside one of your structures. Did she spontaneously come to live in the structure? How did you get to know each other? Did she give you any kind of 'feedback' about Concierge or your work in general?
Another work involving temporary homes is Good/Bad/Ugly. Could you explain us the whole process? The financial transactions?
Good/Bad/Ugly consisted of three mobile living units. On the outside of the units were several advertisements. For every advertisement we received 500 € per month. That's 1000 € per month, per unit. This money (3000 €/month in total) was used for the performance: providing a living for the inhabitants. We travelled around to different locations. In theory it is illegal in Belgium to put this kind of advertising i, but it is allowed for local businesses. We created some sort of alternative community with it.
I really liked the idea of a Youtube drive-in movie theater. Could you explain us how it worked exactly? Did you select yourself the videos that were screened?
It was a video projection under a bridge. It was a costless drive in movie theater where movies were streamed from youtube. I selected the videos but the last day we screened movies suggested by the public. The project was improvised on the spot so birds were flying around during the screening and car sounds or other sounds of the environment interfered with the audio of the movies.
Do you ask for permit for the various interventions in public space?
Sometimes we do, sometimes we don't. We try to stretch the gap between the real world and our artistic interventions as far as we can. I think I have learned that public space has lost it's political function. Public space used to be where people got together and where politics originated but nowadays everything is controlled. That makes it harder or even impossible to rethink the function of public space and of politics.
I'm also very interested to know more about the story of your studio. It is an antique fairground attraction called Jacky. What did it look like before? Where do you buy fairground attractions? and where did you install it? In a garden? inside a bigger building?
It was a mobile game hall, like an arcade for fairs. It was based on a circus wagon that travelled around for thirty years. Without the games it is now a space of 85 square meters, it is my laboratory. It is a mobile artists studio, it has no foundations or a postal address.
Who are the emerging (or not so emerging) artists whose work you find inspiring right now?
Gordon Matta-Clark, Gilbert & George, Claude Lelouche.
Retrospective / Introspective. Group show, Dauwens & Beernaert, Brussels, 15.01 - 13.03.2015.
no walls. Group show, Fenixloods, Rotterdam (NL), 17.01 - 17.02.2015
A Belgian Politician . Group show, Marion de Cannière Art Space, Antwerp, 20.02 - 21.03.2015
Karl Philips - Daan Gielis - Tasya Krougovykh & Vassiliy Bo. Group show, W139, Amsterdam, June 2015
Phlogiston. Group show, (location to be determined), Split (Croatia) in July 2015.
Karla Diaz is an activist, artist, writer and one of the founders of the artist group Slanguage Studio. A couple of years ago, she got interested in the prison food system in California and in particular in the prisoners' ingenious strategies to overcome the culinary flaws of the CDCR cafeterias.
It turns out that prisoners create their own recipes using the limited list of ingredients they can buy either from the jail commissary or the vending machines. The men also design kitchen tools using whatever is available to them and make some unconventional mixtures of ingredients to create their own unique flavours.
Diaz asked friends serving time in prisons in California to send her their own food recipes and collected them for a print on demand book called Prison Gourmet.
On a documentary and curiosity level, Prison Gourmet is a kind of culinary version of Prisoners Inventions. But Prison Gourmet is also a performance in which the artist addresses the politics of food and incarceration by reproducing prison recipes devised by inmates.
I contacted Karla Diaz and she kindly accepted to answer my questions about Prison Gourmet:
Hi Karla! How did you get the idea to make prison recipes?
This idea first came in a meeting I had with my mentor, Manuel "Manazar" Gamboa who was an L.A. poet and playwright. He died in 2001. Manazar spent 17 years of his life in a California prison and after being released from prison, he dedicated the rest of his life writing and teaching writing to others. One day, he shared with me one of his favorite prison recipes-- a tuna casserole with potato chips and dipped pickles. I was so intrigued by the taste of this recipe, the combination of flavors, the process, and Manazar's story. I wanted to recreate this recipe and share it with others. It was not until 2010, that I had the opportunity to do so. My brother had gone to prison and I became more actively involved in the prison food system. I was amazed on the limited choices of food-packages that prisoners could eat. They are saturated with salt, oil and high cholesterol. There had been a few food strikes by prisoners demanding better food conditions. At the same time, I became aware of alternative food recipes that prisoners were eating. These recipes are made from food items that prisoners get to choose from their commissary food items. It's not the cafeteria food. They choose these food items and combine them to make their own recipes. I also learned that some of these recipes are done collaboratively. In a prison system, that tends to isolate and segregate people by race. I was so intrigued by the idea that food recipes were a means of unity. I decided to make this performance called prison gourmet, emphasizing the term "gourmet" and giving value to the prisoners as self-taught chefs.
What does (or did) the Prison Gourmet performance look like exactly?
In 2010, I was asked to participate in "Let Them Eat LACMA" a one-day event of collective performances organized by the art collective Fallen Fruit, that happened at Los Angeles County Museum of Art (LACMA). Prison Gourmet was originally a three-hour, one-day performance recreating recipes from California prisoners. The performance not only gave audiences free-samples of the recipes but also guided audiences through the process of which the food was made. This process is very important because prisoners make these recipes with limited cooking tools for instance, some prisoners use plastic bags, towels and t-shirts instead of pots and pans. The original Prison Gourmet also included a notebook with some of the letters with the recipes and general information on the California prison food. In 2014, Prison Gourmet was part of the exhibition "Around the Table: Food, Creativity, Community " at the San Jose museum of Art. I was glad to expand on the performance and make a full-length video of the recipes, a book documenting some of the recipes, a performance recreating one of the recipes and answering audience questions, and an installation.
How did you get prisoners to share these recipes with you?
I asked prisoners that I had a relationship with or friends that had a loved one in prison. Looking back, I don't think I would have gotten much response if I approached the prison institution officials. I've tried that approach before and have gotten a lot of paperwork, delay, red tape, censorship and no response. Also, you have to understand that prisoners have a different relationship to the police authorities and the amount of information they share with police. From what prisoners have told me, sometimes information whether it be written or in images can be used against them. It could be a simple letter or phone number, or an image that can be used against them. Prisoners had to trust me. And that is a very big responsibility as an artist. To keep that trust. Working with many different communities in my work, I've learned that this is one of the first most important things to build.
I'm also curious to know more about prisoners' cooking experiences: what kind of ingredients and cooking tools do they have at their disposal? And do you know where they cook? In their cell or do they have access to a kitchen?
I think I answered this a little bit earlier. The prisoners use limited tools at their disposal--essentially what they have available to them in their cell or what they can trade or access without permission from the kitchen. Cooling pans and pots take the place of trash bags and bath towels or t-shirts.
Could you give us some examples of creative uses of prison ingredients?
Yes, of course. One example of an interesting creative use of an ingredient is strawberry jelly. For example, in a recipe for orange chicken, a prisoner uses strawberry jelly with sugar, water and the powder drink Kool-Aid to make the orange sauce. Prisoners use pork rinds as a substitute for chicken. It's incredible how visually the strawberry jelly looks the same as the orange chicken sauce.
I suspect that Prison Gourmet is about more than just food. So which kind of issues are you exploring during the performance, how do you manage to engage the public into the discussion?
Yes, Prison Gourmet is more than just about food politics. Its about human creativity, even in the most limited of conditions. It's also about freedom. What I mean by this is that for prisoners, food consumption is not about taste. One day, I wrote to a prisoner asking him why he had made this recipe for orange chicken. I thought he really liked the taste of it. He replied that it wasn't so much the taste of these ingredients put together but that it was the memory that this created for him. Every time he made it, he remembered being home with his daughter. It meant freedom. It meant being home with his family. I also think about the impact this has on food culture, health and its context. You look at the prisons in the united states and there is a high rate and disproportionate rate of people of color (young men in particular) that are currently incarcerated...they are making alternative food practices that they learned from their culture from their memories living in their neighborhoods.
What now seems like a hipster food to eat like Korean-tacos, prisoners have already invented long ago. Taste is about remixing and remembering who they are on the outside world. It means tasting that bit of freedom....
By no means is my intention to comment on prisoners' crime or punishment. I am no one to judge this or is interested in that. I say this because there have been many audiences that have made comments that prisoners deserve to eat bad food. I try to engage audiences throughout the performance by allowing them to ask questions. To facilitate dialogue and exchange, I also keep a journal for audiences who want to comment on the recipes directly to the prisoners.
Prison Gourmet is also a book. Do you sell it? Where?
Yes, Prison Gourmet is also a book. I have self-published a limited edition of these and they are published on demand by emailing my studio website at firstname.lastname@example.org. Please make sure you write Prison Gourmet on the subject line. The first edition was published with the help of the Mexican consulate via the facilitation of the San Jose Museum of Art.
For most people, EDL is the acronym of the English Defense League, a far-right group that regularly and vehemently protests in the street against what it considers to be a spread of Islamism and Sharia in the United Kingdom. Over the past two years however, a number of UK residents have started to associate EDL with another movement: the English Disco Lovers. The story started as a joke when art student Chris Alton decided to reclaim the acronym and google bomb EDL so that English Disco Lovers would appear on top of the results for the search 'EDL' and the three letters would, over time, be associated with tolerance, multiculturalism and equality. Another key strategy of English Disco Lovers consists in participating to counter-English Defence League demonstrations across the UK, wearing garish shirts, dancing to disco music and singing "Go! Walk out the door! Turn around now 'cause you're not welcome anymore!" to the members of the islamophobic group.
As the popularity of its online and offline presence demonstrates, English Disco Lovers has grown into a socially-engaged project that is far more powerful than what its initiators had initially envisioned. I talked online with Chris Alton about the EDL adventures, the wrath of the original EDL, the positive changes a humorous campaign can yield and how English Disco Lovers fits into the history of disco music.
Hi Chris! Who's Alex Jones? i keep finding his name rather than yours in all EDL interviews. he seems to have had a Quaker upbringing as well.
Alex Jones is my pseudonym. At first it was a safety precaution, as the English Disco Lovers email account had been receiving death threats from EDLers who were none to pleased about my cheeky acronym-pinching antics. I didn't fancy a bunch of heavies turning up on my doorstep, so I did the sensible thing and used a fake name. If you look at my TEDxYouth@Hackney talk I'm even wearing a mirrorball mask. The name and mask ultimately became a license to 'perform' Alex Jones. I see him as an idealised aspect of myself, given form and amplification.
When i first read about your EDL project, i assumed it was just great fun and pleasant anti-racism but then i read in an interview that some of you actually attempt to discuss with members of the English Defense League? Do you manage to achieve something by engaging in conversations with them? Because they look pretty scary and some might be very annoyed by your own take on the acronym...
Yeah, through running the project that dialogue opened up. I'd get the odd message from an English Defence League member, one said, "hate the idea, but love the badge". He was referring to our logo, so I offered to send him a badge with it on. Those messages would become inroads, which allowed me to speak to them on a one-to-one basis about why I was doing what I was doing and why they were doing what they were doing. On mass they're a pretty scary bunch, but over social media there's (unsurprisingly) less to fear. In some cases the discussions led nowhere, but in others I found that the English Defence League members opened up to the possibility that their EDL could be causing an increase in the radicalisation of young Muslims, a few even left the organisation (or so they told me).
You wrote me that one of your sources of inspiration was your Quaker upbringing. What has the Quaker education taught you that helped you set up and run the EDL?
Since a young age I've been around people who are more actively engaged in changing the world than most. Quakerism exposed me to countless individuals and groups campaigning in various ways for numerous causes. At the age of 14 I met a woman who'd canoed out to the Trident Submarines in Faslane, planted potatoes onboard, then tried to make her getaway before being surrounded by vessels far superior to her tiny canoe. She was in her 60s at the time and at 17, I was present at the British Yearly Meeting where Quakers made the decision to allow same sex marriages and to lobby the government to legalise them.
Those are two examples among many, both of which exemplify the commitment of Quakers to peace, equality, simplicity and truth (the Quaker testimonies), despite the approaches being so different.
I think it's clear that some of the testimonies mentioned above manifest themselves in English Disco Lovers. It's a peaceful alternative to the English Defence League, which supports equality and togetherness over the divisions the other EDL capitalise upon and exacerbate.
You've been working on EDL for two years now. What have been the most surprising moments in the life of EDL?
As you can imagine there have been many! Getting it off the ground was certainly a surprise. When I made the Facebook page I never imagined the idea would move beyond my friendship group. However, after less than 6 months of using social media to generate interest in the idea, I got an email from Dorian Lynskey, a writer at The Guardian. He asked me a few questions via email and wrote a piece on English Disco Lovers, which was featured in The Guardian's G2 in February 2013.
Then in April 2013 I went down to Brighton for a counter-English Defence League demo. I was surprised to find a mass English Disco Lovers presence opposing the EDL march, bedecked in disco gear (I'm talking wigs, sequinned shirts, flares, the lot) and singing along to disco classics like Chic's "I Want Your Love". When they launched into Gloria Gaynor's "I Will Survive" and told the English Defence League to, "Go! Walk out the door! Turn around now 'cause you're not welcome anymore!" the surrounding protesters joined in and danced along. I surprised that people felt so strongly about an idea that I'd brought into the world, and that they were willing to spend their afternoons embodying it!
Why did you chose disco rather than any other type of music?
The choice of disco is fundamental to the ideology of English Disco Lovers, not only because of the genre's positive sound, but due to the history of disco. In the 1970s discotheques were havens for minorities, they brought together people of every colour and sexuality to listen to music that celebrated unity and self-expression. In 1979 there was an anti-disco rally called Disco Demolition Night, which involved the destruction of disco records. It has been said that the event had racist and homophobic undertones and that it played a significant role in the decline of disco's popularity.
It's also significant that, the word discotheque comes from Nazi occupied France, where jazz music was banned, as it was seen as a potential music of revolution. As live performances were deemed to be too obvious, citizens began to opt for underground bars where they could listen to recordings. These places became known as record libraries, which translates into French as 'discotheque'.
I wanted to redeploy this history in opposition to contemporary intolerance and the recent rise of right-wing extremism in the UK. The English Disco Lovers' motto is "Unus Mundas, Una Gens, Unus Disco", so it's also worth mentioning that, in Latin, disco could be understood to mean 'I learn', 'I learn to know', 'I become acquainted with'.
Apart from google bombing the far-right group, what do you hope to achieve with EDL?
Well, English Disco Lovers has already achieved many things beyond google bombing the English Defence League. For example we've been holding disco nights for about a year and a half, where the profits are donated to charities that tackle issues such as racism, HIV and hate-crime. We've held nights in London, Brighton, Bristol and Manchester, so I hope that these nights continue to grow in popularity and that we can continue spreading the "Don't Hate! Gyrate!" message.
What is next for EDL? any upcoming performance or meeting?
Well I'm heading down to Brighton in early January to meet with two stalwart English Disco Lovers about this very question, what next? I intend to step away from the project for a while and focus on new work, so the future of English Disco Lovers is a little uncertain at the moment. We have a few DJ sets booked in the coming months, which will be posted up on our website and social media, but in terms of big plans and aims, we'll all have to wait and see.
English Disco Lovers is part of an exhibition at the Collyer Bristow Gallery in London. The show remains open until Jan 28th, 2014.
GAMERZ in Aix-en-Provence is probably the only festival in Europe that doesn't bat an eyelid when an artist proposes to organize a performance in which drones modified to be fairly dumb roam freely and menacingly over a room of spectators. This might not sound scary until you realize that a dumb drone is even more dangerous than a smart drone.
The two UAVs of the DRONE.2000 performance are guided by the simple algorithms of a Roomba robot. Clearly, that's not enough intelligence for them as they bump against the walls, fly far too close to the audience, dart green arrows over the heads and emit a noise that has been amplified to the point of discomfort. This could have ended in tears and bruises (but it didn't.)
The only direct experience most of us have of Unmanned Aerial Vehicles (UAV) is fairly benign. We know them through hacking, art, cinema or video games. One day, these flying machines will also deliver our parcels, help coordinate firefighting efforts or keep a 'benevolent' eye over sports games. How far should their autonomy and power go? Do we trust them? Do we trust the ones who manufacture and control them?
Drone.2000 is part of a series of works by Nicolas Maigret that reminds us of the military origins and use of technologies that have reached the mainstream. Here, trusting the autonomy of the machine is not only a discursive concept, Maigret writes, but a true experience shared with the audience, triggering off their reactions, tensions and commitment of their bodies in situation of real danger..
I was in Aix-en-Provence for the opening of the GAMERZ festival but had to leave before the start of the performance so i asked Nicolas Maigret to give us the lowdown on his work:
Bonjour Nicolas! Which model of drone were you using in this performance?
These are Parrot AR.Drone 2.0. The advantage of this model is that it is widely used and very hack-able. A large community is working on hijacking it for different uses. (see: nodecopter = hackathon, ardupilot.com = auto-pilot, copterface = facial recognition ...)
Can you explain how you modified the drone?
The challenge was really to confuse the public, to have it face the autonomy of the machines (in this case flying ones). And add to that a confrontation with instability, fragility, and the potential danger of algorithms that govern the autonomous behavior of these machine.
To do this we have reproduced the primary behaviors of a robot / vacuum cleaner like iRobot Roomba. Which means that the Drone is absolutely not aware of his surroundings, it only knows its height and rotates randomly from time to time when it bumps against an obstacle (walls, etc). We blocked the cameras normally used to stabilize the position, the Drone is literally un-intelligent. He does not know the position of the other drones either.
These changes entail an underlying sense of danger, a sort of sword of Damocles that is quite striking. Especially since these same drones falls down rather frequently (whether there is a public or not).
Each drone is also equipped with vibration sensors under the propellers. These sounds were gradually amplified during the performance, until the beating blades gets a real physical presence. This activates a martial connotation in the brutality of the contemporary sounds - this aspect recalls the sound approaches of the Futurists (or their reactivations such as Jean-Marc Vivenza's Aérobruitisme Dynamique). However, the Futurists harboured a progressive and inclusive form of hope, whereas I believe that we now have a very different rapport, we feel a growing distrust towards the widespread propaganda of technological innovations that have very little in common with yesteryear's myth of progress.
How did the public react? Were they aware of the danger?
Public reactions alternated between discomfort, nervousness, and humor.
The awkward movements of the Drones quickly made the danger tangible. Initially, most of the audience intuitively chose to stand near the walls, on the sides of the room. I think this was the time when anxiety was at its peak. Then people gradually got closer or they sat down around the space. Some even tried to interfere with the flight of these Zombie Drones. Ironically, the walls of the room, which were the places where most people gathered, were also the places where the drones usually fell.
It should be noted that the Drones also intermittently emit a laser target in the shape of a cross towards the public, openly evoking the military and oppressive parallel of this same technology that has quickly been gamified for the general public, in particular with drones plug and play like AR.Drones. (see the project blurb.)
Drone.2000. i love that name but the 2000 is ironic, right? it makes me think of all those shops called 'Fashion 2000' "Car dealer 2000" in the 1980s and 1990s.
The title is clearly ironic. At least it summons an imaginary future as it existed in the past, especially one related to the autonomous flying objects that we encountered in sci-fi and anticipation literature, film, comics, tv series.
I think there is something of the self-fulfilling prophecy in these generational fantasies inspired by sci-fi, the entertainment industry, and more generally the effect of the zeitgeist. Indeed, entire generations grow up with a common imaginary, whether they are dystopian, critical or not. Later, as they are adults, some mechanically attempt to achieve a more or less faithful realization of that imaginary. (This is also a key point of Jean-Baptiste Bayle's Terminator Studies, or of Nicolas Nova's latest book). I think that's part of what we've been seeing over the last 20 years through a series of gadgets and "innovations", emerging notably from the Californian ideology and more generally from the new ruling class of the engineers.
The title, Drone.2000, conjures the vision of a future that is already gone, that seeks to disrupt the mask of fascination associated with innovation, and that also tends to generate a tension between our aspirations to consume science-fiction artifacts and the ideology they carry.
The term drone crystallizes fairly well this tension between, on the one hand, a fun and fascinating artifact coming from the world of model-making and on the other hand, a new paradigm in the relationship to the "clean and surgical" war (Grégoire Chamayou, Drone Theory) or a probable near future characterized by widespread surveillance and control.
It is for these reasons among others that I wanted to make the Drones completely autonomous and disturbing, a symbolic intersection between these three references.
Also by Nicolas Maigret: The Pirate Cinema, A Cinematic Collage Generated by P2P Users.
Jennifer Lyn Morone has turned herself into a corporation and collection of marketable goods and services. Everything she is biologically and intellectually, everything she does, learns or creates has the potential to be turned into profits. Jennifer Lyn Morone™ Inc is a graduation project in Design Interactions but as Jennifer underlines, this is not a speculative project.
JLM Inc is a new business established to determine the value of an individual. The corporation derives value from three sources and legally protects and bestows rights upon the total output of Jennifer Lyn Morone:
1. Past experiences and present capabilities. These are offered as biological, physical and mental services such as genes, labour, creativity, blood, sweat and tears.
JLM Inc is not only an audacious long term performance, it is also an thought-provoking exploration into personal data exploitation by corporations and governments. The projects is an extreme form of capitalism which might ironically enable an individual to regain some ownership of and power over their own data. Jennifer Lyn Morone Inc is obviously a very personal venture but the designer is also beta testing on herself an app, the Database of ME or DOME, that will ensure that your identity and data can be collected and stored for you and only you.
A few questions (amongst the dozens i wanted to ask) to Jennifer:
Hi Jennifer! I obviously laughed when i read the sentence 'This is not a Speculative Project' in the gallery. So you really managed to become an Incorporated Person? How did you do that? Is this a standard, banal process?
It's nice to know that the sign worked as it was intended. I feel that there's a limit to the impact that speculative work can have as it can't be directly compared to a current reality. This was my way of addressing the audience just to make it clear that the project is real and actively negotiating several problems that we are faced with today and that need to be addressed.
So, yes, I really have become an Incorporated Person. The process has not been standard or banal at all but that's probably because I am not in business school setting up a business to sell something. Rather, I was on a critical design course reappropriating capitalist and corporate strategy to make being a person a business.
In November 2013 I starting looking into the details to incorporate, which seemed deceptively simple: choose the business name; decide what kind legal entity you want your business to be (I became a C-corporation); figure out where to incorporate (I did it in Delaware); find a registered agent; fill out some forms; and then pay. All of this, however, required a significant amount of research for me to even understand what the legal and financial implications of my decisions would be. For example: what being a C-corp versus an S-corp entails, how valuation of companies works, what are the benefits to incorporating in Delaware compared to other States, how shares work and how the price per share is determined (which I find completely illogical).
I used the research, combined it with my intention and fused it into a business plan where I had to define what my mission is, what I stand for, and what my vision is and how I plan to achieve these by being the business (person) I will be. Repurposing the corporate mentality even further required me to stop thinking like an individual about what I want and need but what other people want and what can I offer to meet their needs. This helped me to determine my services.
What I found interesting is that it is quite common for people to incorporate before they even know what they want to do. They can do this because, in Delaware where the majority of major corporations are located, all you need to state in the articles is that "The purpose of the corporation is to engage in any lawful activity for which corporations may be organized under the General Corporation Law of Delaware". This is also the common way of describing what the company will do so as not to limit the ways in which it can make money.
Now that I have incorporated myself, I have legally created another person with my name in the eyes of the law. In the USA my corporate self now has not only the same but even more rights and benefits than I do as an individual. My corporate self takes on any responsibility and I am not liable for its actions or debt, only my initial investments. This is why we see companies able to go bankrupt, get bailouts or get away with ruthlessness without anyone being charged or responsible for what happens.
As the founder of my corporation I turn over my skills, capital, possessions and intellectual property to it and these become its assets and increase its value. My identity (name, appearance and IP addresses) become the brand and are trademarked; my mental abilities (knowledge) as processes and strategies; my physical abilities as equipment; my biological functions as products, my data is the corporations property and the shares are my potential. These all become assets that I can now capitalise on. My debt is turned into the corporations liability, which actually increases the company's value if it were to be sold.
By issuing shares I can raise capital, based purely on my potential success. In exchange the shareholder has partial ownership of my corporation. I wanted to do this to expose that shares in no way reflect the true value of a company, only its perceived value based on popularity and that stock markets are pure gambling.
As the founder I can set the price of the shares extremely low, the usual amount advised in 10,000,000 shares at $0.001 or $0.0001 per share, I opted for the latter. After that I applied for a tax number (EIN), which takes about an hour to receive. Then you have to set up a bank account after which you can buy your shares, usually at least a third of the shares, and reserve about 10-15% for stock equity to pay for any services needed. Then you look at what the corporation's assets are, what's your inventory, and include the work that has gone in so far and put a number to it. A valuation has to be done to then determine what the new price per share will be and this can be done by someone who is an experienced investor or a venture capitalist, but they basically just take that number that you have got and multiply it by 10 and then divide that by the number of shares.
How do you put value on things such as Education RCA and Live and work in Germany? And why is living and working in Germany proportionally more valuable than living and working in France?
Those prices actually have no reflection of how valuable the experiences have been. What the numbers represent are of what my life has cost so far divided up into periods of time based and how much I either earned or what was paid for me to live and learn. These become my base values, the initial investment, on top of which I can begin adding the intangible (knowledge, personality, skills which are very hard to put a price on) I gained from these experiences and tangible assets (possessions/inventory, both internally - i.e. blood and externally - i.e. computer) that I acquired or continually produce. This gives me a starting point to know what my production costs are so I can determine an honest price for my services.
The cost of my education, how much I received after my father passed and how much I earned in France and Germany (to answer your question: France was significantly less since I worked for an ex-partner and didn't receive a salary but also didn't pay rent) I knew already. What I didn't know and never thought to ask before was how much I cost my parents, purely financially, from conception to the age of 18. I asked my mother and she came back to me with this number with inflation figured in. I've since set aside shares for her.
It is an interesting perspective to now have. Often we think about what we don't have or aren't receiving. By calculating how much money has gone into my existence as input I then took a look at what my output has been, what I've actually done with that, and I wasn't terribly impressed. In capitalism individuals are meant to consume as much input as possible, while corporations can't survive unless their output is both useful and greater than their input, which needs to be relevant and not wasteful of time or money.
Could you explain us the purpose of the DOME app? How does it insure that your own information remains your property?
The philosopher John Locke stated that a person's natural and inalienable rights are "life, liberty, and property": that "everyone is entitled to live once they are created", that "everyone is entitled to do anything they want to so long as it doesn't conflict with the first right" and that "everyone is entitled to own all they create or gain so long as it doesn't conflict with the first two rights". Today, I believe that the data a person creates should be considered their property: it has a monetary value in the economic system that our lives are structured around. So I see data as a resource that people create and that is currently being exploited.
Governments were created to protect people and their rights but as we are living in a time of crony capitalism, where economic success is dependent on close relationships between business people and government officials, I think it will be a long time before any policy or solutions will be established. Instead what we are seeing are efforts made to better track and monitor our actions to get a clearer picture of how to better target our consumptive behaviour. This is what I consider data slavery.
Right now, as a hyper-connected network society, each person creates a trail of data that is being used and profited on mostly for advertising purposes. People are now referred to as consumers and statistics and government and Industry pay substantial sums for our information.
So as a form of protest and in an effort to revolt against this, I am using subversive tactics to reclaim what I feel should be a person's rights by incorporating my identity and creating DOME (Database of Me) as a way to take ownership and control of my property. Now that I am a corporation any data that I create that is linked to my name, IP address and appearance is copyrighted or trademarked and therefore subject to litigation if used without my permission...think of how Getty gets the rights to images and if you use it without their permission or having paid you get a fine. So any photo I take, any email I write, any call, text, web search, cctv footage of me that is stored on someone else's, company's or government's sever does not have the right to be there or to be used, sold, leased or traded.
DOME's function, in its simplest form, is an app that acts as a firewall between you and other servers. You use all of the same services, apps and interfaces you do today but you also have your own server and the app operates quietly in the background of any device you use, making two copies of the data you transmit. One hard copy goes to your database, the other is encrypted and goes to its intended destination but can't be used beyond that. In DOME's complete form it is a customisable app that still does what the simpler form does but with its own applications so that a person can communicate, share photos, socialise, navigate, search for information, and record external sensors such as biosignals. So people would need to have their own server or a data locker on a shared server and download the app on their computers and phones.
For the purpose of this project all of my personal data collected with DOME is being displayed on the tracking page. This is to show and make a clear distinction that there are real lives behind the data, which is something that I think is critically missed in this data discussion. Right now there is only a portion of my information compared to what will eventually be there. It will being streamed in real-time to mimic how the NSA, GCHQ, Google, and others view our information now and it is public because I want to draw attention to how exposed we currently are.
I am also using it to measure my "operations" to monitor and track productivity and efficiency in the same way that corporations normally do. Spy software and keyloggers are becoming very commonplace mostly used by companies on their employees, jealous partners to their loved ones and parents to their children.
Currently, I am the first and only beta tester. I am using myself as the case study to capture as much data about myself as possible, store it all in one place to see how much a person can actually generate, and then correlate it to see which combinations are valuable.
Given the growing market for information if people have ownership and control of their data they should be the ones compensated for it, not other companies. So beyond any success with DOME I have the intention to build a Platform, or try to work with others who are heading in this direction as well, as a cooperative Data Broker. People would use DOME and have an overview of their information as a data portfolio from which they could choose, if they want, to send as packaged data sets to the Platform as an investment for a known purpose. The Platform would then combine different people's information, as this increases the value of the data, and then sell it to the approved markets. Those that contribute their information would then get a return on their investment. This is not necessarily the best solution, it is only a fairer alternative to the system that is in place now.
Do you think that an individual has more to lose or more to gain from this extension of capitalism to their own person? Because on the one hand, they regain some power. On the other hand, the idea seems a bit perverse.
What I am doing is quite outside the realm of ordinary behaviour but we are made to behave in what I consider quite a perverse way because of the economic system in place. Which I am in awe of as it is not really what I would have expected after millennia of evolution.
But here we are and it is obvious that Capitalism works best for Capitalists. So, I am experimenting, with myself as the subject, to push the limits to the extreme to provoke change. The way in which I am doing it is merely reflecting how things are and where they seem to be heading. Systems and governments have been adjusted and overthrown before, the problem with this one is that it works too well for the ones running it but not well enough for the rest...and the disparity is growing wider.
Theoretically, I think a person would have more to gain as a corporation as long as capitalism is in place. In practice you might have to ask me that in a year, five or even 10 years time. People change, adapt, and continue to learn throughout their lives which is much more sustainable and scalable than the way companies operate. Together we are very diverse and alone unique because of the experiences we go through which create our most valuable asset, our individual perspectives. We all have assets and potential, but for many only a small percentage is even used and rarely for one's own benefit. If my friends and family became corporations I know exactly who I would use and for what and I know who I would invest in, not only because of what they can do but because of who they are.
If people were to write a business plan like I did they would most likely benefit in some way and definitely gain a greater perspective. But unless they take on the legal and financial implications like I have they won't truly change the way they live and how they engage with others. Technically speaking, all becoming a corporation really comes down to is looking at what you do and what you want to do and applying the same terminology, strategy and framework that corporations use to make money. I think that there will always be perversion as long we need to gain or earn money, or some form of currency, to meet our basic needs.
Could you describe to us the kind of services you are offering for free or those you are offering in exchange of money?
It really depends on who is asking and what they are asking for and is also affected by supply and demand. My services are categorised under mental, physical or biological, under which are combinations of features such as problem solving, compassion, strength, coordination, heat, and bodily functions. So when I offer something for free it's because I produce it anyway and have no use for it myself and there is no demand, so it's waste. If there starts to be a demand then it's no longer waste but a byproduct which I can sell. If there's something that is going to require depleting a resource, which would be measured by time, money and energy spent, in order to do it; such as consoling a friend and trying to help him through his problems for a few hours, then it will either be an exchange or invoiced. For example if this friend who often asks to meet to talk about his relationship problems is also there for me when I need consoling or help then it's an exchange. But if he is never there for me when I need it, then I would send him an invoice.
Another example compared to how we are used to working now would be if a firm or company wants me for some mental services, say creativity and knowledge, then it would be similar to acquiring a consultant, but I would calculate my price based on what the knowledge cost to produce (education and experience) and calculate in my overhead costs, what I lost in time and energy against what I may have gained in value such as enjoyment or if I learned something new. If I there was value I gained I would deduct that from the price.
Oh! i just saw you're offering free urine! Is it ironic or would the urine be of any use to the buyer?
It's both! There's irony in the whole project, I've just dealt with it very pragmatically. We are bound to our bodies, some ways it's an extension of our mind, in other ways it operates without us even having to think about it, in either case you are in it for as long as you live, or as long as it keeps up. It is 100% yours but there are external factors such as laws and taboos that condition you to use your bodies and the valuable things they do in very specific and deemed acceptable ways. Companies on the other hand don't work this way. As I described above in how a waste might turn into a profitable byproduct, it depends on supply and demand.
So if you look at the body as equipment with quite mechanical operations, it produces things like urine systematically. As I am just starting I don't have any customers. So I am copying how businesses give free promotions to attract potential buyers. In my research I came across people that were looking to buy urine for drug tests. There is also the potential to sell to labs of companies that are developing bio-fuel cells to power phones. Who knows who else might want it.
As there's a pretty steady supply, which can be increased to an extent, if there started to be a demand that was more than I could supply then I could increase the price. If the demand is equal to the supply then I would price it based on what I saw people would pay and keep it competitive to bottled synthetic urine, yes there is such a thing. I could also increase my profit margin by only drinking tap water.
So, there's irony on several levels: to illustrate the exploitative aspect of capitalism on resources and what this looks like at the extreme level of and by the individual; the ways in which we are conditioned to use our bodies and what we are 'allowed' to do with them; and the fact that you can potentially sell anything as long as there's a willing buyer.
There is also another level of sincerity, in that the more manual your work is the less you are paid. When times are really tough, women in particular have had to resort to selling their bodies for money, with sex, pulling teeth, hair. I saw many people online looking to sell their kidney to help a friend in financial need. I also went to start a clinical drug trial and found that there are many healthy and educated young people who are now doing this for additional income. In face of an increasingly specialised workforce and automation of manual jobs people have to be resourceful and will have to look at what they have and what they can offer to live from.
Do you have a marketing plan that will ensure that people are eager to get those services and that you will make a profit rapidly?
I do have a marketing strategy as it was part of the business plan. My initial customers or users of my services will be everyone I engage with and know now. For example, if you wanted to interview me after the launch you would have to go through my website, check my calendar and block my time with the type service you want. You can then check my progress with the tracking page to make sure I'm doing what you asked of me. It would probably be an exchange as you are promoting me and helping me reach a wider audience, which would increase the value of me as a company and therefore effect my share price, creating profit for the shareholders.
My website will be monetised on the use and tracking page with banner ads to click on displaying things I own and want to sell, services I'm promoting and other people's services. That will be similar to the way Google AdSense works with affiliate marketing but instead of products and companies it will be with people I know are looking for work or have just done something that's available to the public, such as an exhibition or a book.
I plan to create some revenue also from endorsements to promote events I might attend, clothes I might wear, restaurants I might eat at and products I might use. This is to reflect how celebrities and athletes are used to influence the public and how product placement only happens when it has been paid to be seen. However, as normal people, we actually buy things and become walking billboards if logos or the brand's identity are obvious.
Finally, there is the profitable but time consuming endeavor of pursuing intellectual property infringements. The profit of this will depend on whether my lawyer will charge me fees or if he will take a percentage from cases won.
In the video you present yourself dressed as a businessman. Why not highlight the fact that you're a woman?
This project takes its stance in criticism to the capitalist system of which I can not think of a more iconic image than the man's business suit. When you see a man in a business suit you know his job is to make money. I wanted to highlight that I am reappropriating the Capitalist's role and strategy by embodying this uniform. There is a very schizophrenic nature to this project and through it I must play many different roles and not all of them will fit. The clips in the back are used to represent this and indicate that I am making this role fit me and not the other way around.
I think that it is still obvious in the video that I am a woman. If I had accentuated this fact by dressing up in a female business outfit or a sexy dress then I still would still be playing a role. Actually, over the course of this project so far the fact that I am a woman has already come in the way a few times and with people I considered friends. One wanted to help with contextualising the philosophical nature of the project. Our communications became muddy because he developed feelings, which was uncomfortable to say the least. Then he became greedy after speaking with people about the project and aggressively stated that he deserved a large proportion of shares. And finally, he was dishonest about how he used money I gave him to set up the my server. The second set-back, which was directly because I am a woman, was with a friend that I pitched to as a potential investor, since he's squandering lots of money to build a spaceship so he can go to the moon in a few years. At first he was very interested, up until the point that he realised I was not going to sleep with him.
It looks to me like the project has just begun and you are going to learn and experience a lot in the coming months. Or will JML Inc disappear beyond the graduation show?
Yes, this project has just begun and there is so much work still to be done before launching. Over the summer I will be at Innovation RCA's launchpad where I will have a business mentor and work more on the marketing plan. I will also be holding a crowdfunding campaign for DOME and will soon do a friends and family round of shareholders for JLM Inc.
I am looking forward to many aspects of the project such as exposing the loopholes that big corporations use to their benefit and challenging norms that we are conditioned to. I have already learned many things and gained a greater understanding of our economic system, which brings a clarity to why our society and culture are as they are.
This project has the potential to go on indefinitely as I am using my life as the subject. And just as life goes, it's hard to say what the outcome will be.
Film: director- Ilona Gaynor
In 1880 Alexander Graham Bell Invented the Photophone. While his earlier invention, the telephone, uses electricity to transmit voice communications, the photophone relied on a beam of light to send sound. A person's voice was projected through an instrument toward a mirror. The vibrations of the voice caused vibrations in the mirror. Sunlight was then directed into the mirror, where the vibrations were captured and projected back to the photophone's receiver where they were converted back into sound.
Bell believed that the photophone was "the greatest invention [I have] ever made, greater than the telephone". He might be right, the photophone was a precursor to the fiber-optic communication systems. The reason why the photophone didn't take off during Bell's time is simply that the system was useless whenever the weather was cloudy.
Inspired by Bell's patent for the photophone, artist Arcangel Constantini developed the Phonotube which uses fluorescent tubes and strips of leds as light instruments and sound sequencers for audio and visual performances.
The tubes are covered with negative offset, printed with sound patterns that spin at variable speeds. The oscillation from the light emitted by these patterns is transduced into sound processes by light excitation, through a variety of electronic circuits as pre-amps photo-cells and photodiodes, voltage control oscillators, relays, circuit Filters, 1bit systems.
The Phonotube is part of the program of the Sight + Sound festival which will take place in Montreal next month. And because i've been admiring Arcangel's work from afar on too many occasions, i thought i should take the upcoming festival as an excuse to get in touch and interview him about the work.
Hola Arcangel! Reading through the description of the Phonotube on your website, i had the felling (perhaps wrong) that it relies on a fairly simple technology. Is that correct? How much did you have to tweak.improve/modify the Graham Bell patent for the Photophone?
In reality, it is a very simple technology, the patent is very crude, clever and significant. It is about the transmission of information using vibrating light, Graham Bell state that this was his legacy to human kind and this is true.
We perceive our surroundings because of light oscillations, our retina transmits the perception of the visible spectrum of light to the part of the brain that interpret this light frequencies as images.
Every aspect of reality is on its own frequency, mystics knew this by meditation and contemplation, science by theory and experimentation, all this intermingling knowledge is a legacy, Graham Bell had an intuition on how to manipulate light to integrate information on it, and with this started a revolution. I'm interested in researching this simple perception principles through art practice, in exploring the meanings and implications while experimenting with the process.
Phonotube is part of this research, based on a simple principle, in this case experimenting with fluorescent lights. To energize this kind of lamps, a transformer and electronic circuit are used to generate high voltage in a high frequency energy, the gas inside the lamp is expelled and turns into a light that is vibrating to this energy frequencies. The light produced is a kind of carrier, the repetitive patterns printed in the tube give a new oscillation to this light, small Photocells are transforming light into electrons, this energy is pre-amplified to audible sound, and processed trough filters. Furthermore, a circuit with Photo diodes is used as a variable for Low Fidelity Voltage Controlled Oscillators.
A second sound artifact uses a strip of LED lights inside a transparent Tube. A series of AtTiny85 microcontrollers are programed in 1 bit sound (1, 0) that produce light pulsations on each of these LEDS. Small photocells and a pre-amplifier Circuit transform these pulsations into audible sound. OculO is another instrument involved in the performance, it uses a Joule thief hack from a disposable camera that energizes a 22 watt circular lamp with a 1.5 volt battery. Photocells transform the gaseous light into sound. These energy frequencies and the electromagnetic induction become part of the sound performance of OculO. I also interact directly with my body, canalizing energy by receiving tiny electroshocks in my fingers trough contact with the electrodes and the lamps.
You use the Phonotube in performances but is it an instrument anyone could use? I suspect many people in the audience wouldn't mind to have a go and play a bit with it? is it intuitive or is there a steep learning curve to be able to play the instrument?
Phonotube is still an experiment. I have tested different sound circuits. The intensity of the sound frequencies in its current state are meant for live performance. I included small speakers on it, thinking that it could be used by the public also as an installation, as it is simple and intuitive to use. Now, the speakers are used during the performance to Generate some EVP, Electronic Voice Phenomena using piezoelectrics directly on the speakers, performing it with OculO turn into a spectral portal.
The descriptive text says that the Phonotube was "inspired by visuals experimenters as Norman Mclaren, that used the optical sound of cinema, reversing the process to experiment with it." I looked online but didn't find much information about McLaren's experimentations. Could you tell us what they were about?
Norman is a pioneer of experimental sound and animation. He was artist in residence with the National film Board of Canada, he started to work directly in clear film, drawing, scratching, painting the material to produce abstract Motion films. This lead him to invade the film area dedicated to the optical sound. Fascinated by the abstract Sound Frequencies archived by different visual patterns, and how sound worked in synchronicity to the visuals, he started to produce an Impressive work using this techniques.
The description also said that "In the history of the invention of electronic instruments, the study of light and its behavior as a particle or wave, and its application to sound processes (...) is currently, one of the areas of scientific research with the greatest potential in human communication." Now that sounds really interesting. Do you have examples of how the study of the behaviour lights can lead to innovative means of communication?
Most Telecommunications nowadays are based on light transmission, fiber optic cables crisscross the planet connecting the continents transmitting terabytes of data using laser technology.
There is an important research in the spectrum of visible light to transmit wireless data, instead of electromagnetic radio WiFi. The researchers are using pulsating Led light to transmit data with a huge increment in broadband velocity.
There is also the fantastic research on Quantum teleportation that tries to establish instant communication between photons separated by large distances, the record now is 143 km,
The object looks stunning. I really like its simple and striking design. How important is the visual aspect of the Phonotube in your performances?
Gracias Régine. As i mentioned, the research started as a visual project. Aesthetics become very important in its relation to sound. The tube has an the aura of a partitur. The intensity of the sound frequencies of the Low Fi oscillators are meant for live performance, the plan is to develop the project as an instrument, but as the lamps are no longer on production there is now an obsolete quality to it. The light of the lamps is the only light on stage, and for Sound & Sight performance will explore the use of analog video filming the tube.