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The Terminator Studies

Somewhere between military robots, Amazon drones knocking on your door to deliver a parcel, and the rise in machine intelligence, lies what some call The Terminator Scenario. Jean-Baptiste Bayle has spent the past few years looking at the fear and likeliness that our society is getting closer to the one depicted in the 1984 science fiction film The Terminator. The Terminator Studies timeline, map and news collection propose a reinterpretation of a Sci-fi blockbuster. The picture that emerges from this research hovers between cinematographic prophecy and History contaminated by fiction.

The Terminator Studies is going to be exhibited from tomorrow on in Pau, France, as part of the Disnovation show and the accès)s( festival of digital culture. Until i get there (next month! next month!), i wanted to have a quick online chat with the artist:

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The Terminator Studies

Hi Jean-Baptiste! People can navigate the Terminator Studies via news feed, a map or a timeline. Could you explain how they complete each other? Why did you chose this kind of 'architecture' for the work?

First of all I stand like an observer and I collect webshots (screenshots of the web) as evidence. So the website is a repository for this collection, an archive which represents a knowledge resource for the project. The feed is curated, all items are handpicked from diverse sources. So the feed and the timeline are basically the same type of visualisation in a different order, but the map is more subjective, and shows relations, factual, subversive or symbolic, in between all the topics, so that it evolves with time and the flux of events.

I actually really like the map. I wish i could see a big print of it. Would that make sense to you?

And when you exhibit the project in festivals, what does the idea set up look like? That huge map i'm dreaming of and then a computer to explore the project?

Yes, the map, printed is really intriguing . It becomes a modern "fresque". It's a software generated mashup of screenshots, logos, and portraits. And of course it's better to have the electronic version to explore fully the links.

The project was first commissioned by the online platform of Le Jeu de Paume in Paris in 2011. It has since been shown during Sight and Sound in Montreal last year and this year it will be shown during Acces-S in Pau, France.

I also present the state of the art of the research in conference/keynote like the one at Gaité Lyrique in May, and completed with a workshop to practice the survival guide of the internet.

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The Terminator Studies

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When and how did you realize that the "terminator scenario" is becoming increasingly likely to become reality one day?

In fact it is already happening . Exactly what do we call the Terminator scenario? Technological take over? As most of the population is increasingly being used by/or uses computers everyday : we are living it. Technological cataclysm ? What about Chernobyl ? Fukushima ? GMO ? or asbestos ? Ecological doom ? Here we go.. Scientists and experts now talk of existential risk! It's true if not new, but a major cause of thoses threats is unaccountability, and should be avoidable in theory.

It all started in the 80s during the Reagan era, another Hollywood actor : the software industry, the pc computer, high frequency trading, NSA surveillance, DARPA robots, and the scenario of the Terminator movie (1984) was inspired by those hypes.

In this sense we are already in a worst case scenario a la "Terminator", and that is probably one of the reason why the movie is such a reference.. It's even used by government representatives and experts during debates on autonomous killing machine ban at the UN.

Cameron is lucid about this: he's working hand in hand with the military, cultivates the image of a ecologically concerned filmmaker, but while he's producing a global warming documentary series for cable tv, at the same times he's on board with a company that plans to mine resources missing on Earth on other planets..

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The Terminator Studies

From what you have discovered during your research for this project, who will be the losers of this terminator society? the whole humanity? Or just the masses? And who will be the winners, if there will be any, in the long term?

It's important to understand the pragmatic approach of the Terminator Studies. The goal is not to make predictions but to understand bits of contemporary history. It's interesting that you ask about the "Terminator society" because this concept of extermination is very similar to the capitalist process. In fact the capitalist society is a Terminator society. Terminator is also the name of a technology patented by Monsanto, which is a sterile seeds, also called suicide seeds, to force farmers to buy new seeds every year. The capitalist society is fundamentally suicidal. So for now, we can clearly see losers and winners, but it's more in terms of domination structure.

In China, the people building ipads and iphone at Foxconn factory don't have the same perception of modernity as Apple customers do. They don't share the same everyday issues.

San Francisco is now over-gentrified by the Silicon Valley folks and lots of people face eviction or cannot afford the city anymore. We see that some Californians now see the Tech industry as severely predatory. It creates a lot less common goods than it consumes... The etymology of robot is rooted in feudalistic society. And there is this kind of cynicism in the Californian tech elite, mostly white, that trash themselves once a year in luxury caravan in the middle of the desert, during the Burning Man festival. Think that Megan Ellison, the daughter of the 5th richest man in the world, software industry tycoon Larry Ellison, who is 25, has bought the rights of the Terminator franchise for about 30 million dollars. That also is real.

There is also the information class war. Our biggest enemy is ignorance, the whole domination process is based on the culture of ignorance (or as Robert Proctor coined it : agnotology). The tobacco industry, the deadliest industry , has invented the management of scientific doubt and by so improved its non liability and its sustainability. Now this applies to everything from GMO to global warming, to data retention, bank industry or even the state. That's why an initiative like Wikileaks is so vital and imperative in this time.

On internet, most of the users are forced into accepting contracts without even reading them, and thus become willingly serfs of google, facebook, or whatever Californian goulag.

Artists can play a major role, if they choose an ethical model of action, in re-infesting the collective consciousness through alternative storytelling. For example Paolo Cirio or Julian Oliver have explicitly directed theirs works towards systems, and make effective proposals to alter their efficiency, even temporarily. But this process of creative resistance must be appropriated by everyone.. Perhaps that was also the goal or the dream of James Cameron to bring awareness when he created the Terminator, though I doubt it.

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One of SkyNet's Hunter-Killer Drones from the film Terminator 3: Rise of the Machines (image)

Since you've been scanning the press for a few years now, do you think that journalists are doing a good job at weighting in the pros and cons of a world ruled by machines and AI?

Generally the press doesn't do much journalism, with a few exceptions. AI takeover, as a topic, is quite unclear for a non expert especially with all the science fiction references, which tends to simplify it and make it acceptable. This is also called the James Bond effect, when people are already used to situations they saw multiple times in movies, like war, violence or surveillance..

At the same time it is very hard to talk about robots or our technology without mentionning science fiction references because in fact it all comes from it.. Hugo de Garis and others transhumanists consider science fiction as quasi biblical tell. Activists against autonomous killer robots opted for an opposite communication strategy and avoid any references to distopic science fiction tells (so called skynet factor), to make clear that this is a real threat and not a fictive one.

Thus the figure of the terminator is always ambiguous : it represents the domination but it's also part of it, in the sense that it has not been fully reappropriated like, say, the Anonymous mask.

Thanks Jean-Baptiste!

Terminator Studies is shown at the DISNOVATION exhibition, on October 8th- December 6th, as part of the 14th edition of the accès)s( festival which will run November 13th -16th, 2014, at Le Bel Ordinaire, Billière + associated venues in Pau & around. The programme was curated by Nicolas Maigret and Bertrand Grimault.

This is Giulio Andreotti, a legend in Italian politics:

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Giulio Andreotti, Rome, 1970s © TEAM Editorial Services/Alinari

For almost half a century, Andreotti occupied all the major offices of state. He held the post of prime minister 7 times and for longer than any other postwar Italian politician except Silvio Berlusconi. Andreotti was not as farcical as Berlusconi though but he was every bit as shrewd as a Borgia. He was involved in most political corruption scandals, was tried for mafia association and has also been accused of being involved in a variety of conspiracies related to high profile assassinations, massacres and banking crimes. In his 2008 film, Il Divo: La Straordinaria vita di Giulio Andreotti, director Paolo Sorrentino, highlighted the responsibility of Giulio Andreotti in the kidnapping of Aldo Moro, former prime minister and then president of Christian Democracy (Italy's relative majority party at the time). Sorrentino is not the only one to hold that suspicion. Many believe that Moro was the agnello sacrificale, the sacrificial lamb who had to be executed because of his efforts to include the Communist Party in a coalition government.

On 16 March 1978, Moro's car was assaulted by a group of Red Brigades terrorists in Rome. His corpse was later found in the trunk of a Renault 4 after 55 days of imprisonment.

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9 May 1978: Aldo Moro's body is found in via Caetani, Rome in the trunk of a Renault 4

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Moro, photographed during his kidnapping by the Red Brigades

Andreotti, Moro but also Andy Warhol, Federico Fellini and many others appear in Amore e Piombo: The Photography of extremes in 1970s Italy, one of the exhibitions of the Brighton Photo Biennial. Amore e Piombo means Love and Lead. Lead as in the anni di piombo, the tumultuous years of social conflict and acts of terrorism carried out by right- and left-wing paramilitary groups in the Italy of the 1970s. Now the Amore comes with the glamour of Cinecitta and the stars photographed by paparazzi in the streets of Rome. Two worlds poles apart that characterized Italy in the 70s and were documented by a group of photographers working for the agency Team Editorial Services.

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Specialist anti-riot police unit Cellere, 70s

The press photographers constantly shifted between battling film stars at play and the reality of near civil war unfolding on the streets. Politics and celebrity are brought together through the paparazzi style of alto contrasto, collusion and intrusion. Alluded to, although less visible, are the murkier dealings of clandestine groups linked to the Italian Secret Services, The P2 Masonic Lodge the CIA and NATO, operating against the backdrop of the extremes of the Red and Black Brigades. Archive prints are presented alongside television news footage, film sequences and sound recordings. A choice of Italian photo-books of the period, loaned from the Martin Parr collection, add a further layer of reference.

Amore e Piombo is an exhibition as fascinating and enigmatic as the years it portrays. Don't miss it if you're in or around Brighton:

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Demonstration against the Historic Compromise, alliance of the Christian Democracy (DC) and the Italian Communist party (PCI), Rome, 70s All photographs: Alinari Courtesy The Archive of Modern Conflict

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Giulio Andreotti in the early 70s during his first time as prime minister of Italy and leader of the Christian Democrats

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Actors Ninetto Davoli and Franco Citti with director Pier Paolo Pasolini (standing) in an actors' football team, 70s

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French actor Alain Delon on an Italian film set

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Clash between police and far-left protesters, Rome, 1977

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Avelar Brandão Vilela, Brazilian cardinal of the Roman Catholic church, 1970s

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Brigitte Bardot in Les Femmes, directed by Jean Aurel, Rome, 1969

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A police bodyguard lies dead after Red Brigades ambush and kidnap Aldo Moro, via Fani, Rome, 16 March 1978

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Pro-divorce demonstration in advance of the divorce referendum, 1974

Views of the exhibition space:

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The Guardian has more images.

Amore e Piombo: The Photography of extremes in 1970s Italy was co-commissioned by the Archive of Modern Conflict and Photoworks, curated by Roger Hargreaves and Federica Chiocchetti. It is open until 2 November at the Brighton Museum & Art Gallery.

The Deadly Life of Logistics. Mapping Violence in Global Trade, by Deborah Cowen, an Associate Professor in the Department of Geography at the University of Toronto. Her work focuses on the politics of space and questions of citizenship.

Available on Amazon USA and UK.

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Publisher University of Minnesota Press writes: A genealogy of logistics, tracing the link between markets and militaries, territory and government

Deborah Cowen traces the art and science of logistics over the past sixty years, from the battlefield to the boardroom and back again. Though the object of corporate and governmental logistical efforts is commodity supply, she demonstrates that they are deeply political--and, considered in the context of the long history of logistics, deeply indebted to the practice of war.

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Details of the new Basra Logistics City, on the site of the old Camp Bucca (image)

The image above encapsulates rather efficiently the intimate connections that link the military and the private businesses which transport 'seamlessly' all kinds of goods around the world. Basra Logistics City used to be called Camp Bucca and it used to be the largest U.S. military detention facility in occupied Iraq. In December 2010, the US handed the base to the government of Iraq, which, on the same day, gave Kufan Group of Iraq a license to turn the place into a 21st-century logistics hub for Iraq's port.

The Deadly Life of Logistics demonstrates how logistics is at the very heart of war and trade. Since WWII, businesses have been learning lessons from the infrastructures, strategies and technologies that armies have put in place to ensure that soldiers are fed and ammunition is available at the front. Logistics plays a key role in war. The greatest volume of material shipped from the UK to France during WW1, i read in the book, was oats and hay for the horses. Over time, private companies have not only learnt from the military, using logistics to reshape the geographies of capitalist production and distribution on global scale, they have also quickly started to support war efforts and are now providing housing and feeding to the soldiers stationed in Afghanistan. The author speaks of a militarization of the economy and a privatization of warfare.

The book offers a fascinating tour of the instruments and tactics of logistics: the palet, the container, the deregulation of the transport industry in the U.S. in the 1980s, the use of 'flags of convenience', etc. All of which provide huge benefits in time, space and capital. DHL delivers your parcel on time, new toys arrive in store before Christmas and everybody is happy. Except the workers who saw their wages, rights and the strength of their unions reduced. Their very safety is at risk as well. Port, transport and logistics are consistently ranked among the most dangerous industries by governments that monitor health and safety on the workplace.

The picture that the book offers is rather bleak. In the world of logistics, China imports its cheap labor model, the port of Dubai where the vast majority of the private workforce have no formal citizenship is heralded as a model for the U.S. port security, Somali pirates are presented as enemies of humanity while foreign companies illegally dump toxic substances in Somali waters and others deplete them of marine resources in total impunity, the flow of capital and commodities is a matter of species survival and human rights are a rather tiresome hindrance.

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Striking workers at the Kwai Chung container port. Photo: Reuters

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A sea crane is removing the 1280 containers that remain on board the ship.AP Photo/New Zealand Maritime, Graeme Brown, HO (image via Gizmodo)

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Somali pirates in small boats hijacked the arms-laden Ukrainian freighter Faina. Photo: United States Navy, via Agence France-Presse -- Getty Images

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The trade surplus China has built up over the past two decades is only likely to increase further. Photo: Lucy Nicholson/Reuters

The Deadly Life of Logistics is a fascinating, informative and politically engaged book. I sometimes found that the constant abbreviations, quotes, references and repetitions got in the way of a fluid reading but otherwise it's a book i'd like to place in the hand of artists and activists. Of artists mostly because no one better than them can translate the impact and dangers of contemporary logistics into an arresting language understood by the broad public.

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas. Photo: BIO50

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas

One of the themes of the BIO 50 design Biennial which opened last week in Ljubljana looked at the simple act of walking in the city. Several designers explored walking under various guises and lenses but i was particularly interested in the street markings, research and performances of Giuditta Vendrame and Paolo Patelli from design and research studio La Jetée.

The designers logged into a Friction Atlas some of the rules and constraints that regulate the circulation of citizens within urban space. For example, any reading or picnic gathering over 20 persons in one of New York city parks requires a special event permit. In Sweden, you need to apply for a permit to dance in public. In Cairo you're allowed to spontaneously discuss public matters only if you are fewer that 10 people.

Giuditta and Paolo drew 1:1 diagrams onto the pavement to illustrate rules that control the use of public spaces in cities such as Genoa, Cairo, Washington, Stockholm, Sydney, etc. They then invited the public to perform staged choreographies while discussing issues of public space, law and legibility.

Friction Atlas addresses the issue of legibility of public space, its programs, and the laws that regulate its uses. Many regulations discretize human behavior, tending to be algorithmic, quantitative and invisible. Sometimes they are rigorous and mathematical, other times loose and under-defined. They are textual, prone to contested interpretations. Friction Atlas aims to make regulations - that are always implicitly present in any public space - explicit and visible, through graphical devices.

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas. Test in Ljubljana. Photo: BIO50 / The Agency of Walking

I can't resist a project that makes the dynamics of authority not only visually but also physically discernible, so i contacted the designers to discuss their work for the BIO 50 biennial (proper report on the event will be on your desk. One day):

Hi Giuditta and Paolo! Could you explain what you mean when you talk about the algorithmic quality of these regulations that govern the use of public space?

Regulations are nothing but symbols, conventions, but they have the power of persuading human beings to act. When they are put to work, they make things happen. They are sets of instructions that incorporate power, while responding to internal and external conditions. They are a kind of invisible structural force that plays through into everyday life.

In the context of public space, a number of legal prescription can generate differences in the displacement, mobility and assembly of bodies. Citizens perform in their everyday a synchronized routine of elaborate moves on public surfaces. We recognize, in such patterns, a choreography.

Assembling in public space to discuss, demonstrate either support or opposition, publicize a cause, mark or commemorate an event is both an individual and a group activity. Figures and routines involve interplay and sometime synchronization. The use of public space is choreographed not only to the organizer's intentions, but also to abstract regulations. As sets of instructions, algorithms are rules. They are abstract, but always implicitly present in any public space. These prescriptions extend way beyond exceptional events, and pervade our everyday urban experience thoroughly. Regulative rules exist for picnicking in a park in New York City, for group dancing in Sweden, for kids to return home in Iceland. For example, it is not uncommon to see in the media demonstrators keeping their march to one line, standing on the sidewalk, always fewer than fifty, in front of the White House.

The idea of making such instructions legible on public ground, came to us last April, while we were in Cairo. We were greeting a group of Egyptian friends, just outside a bar in Talaat Harb, Downtown. Suddenly, one of them grinned, realizing that - according the recently introduced Egyptian anti-protest law - we were being illegal. Giuditta and I immediately thought of what it means to be a group of ten people. How do you define it? How do you recognize it? Where are the thresholds to be found in our mutual interactions? Of course such relations extend to our online presences.

Indeed, in recent Cultural and Media Studies, as in the writings of Scott Lash and Alexander Galloway, the phrasing "algorithmic rules" has been associated to new forms of power, that reside in the networks, computers, information, and data, rather than being exerted from above by legitimate institutions. Paolo Gerbaudo used the expression "choreography of assembly" while analyzing the online organizational structures and process of the recent urban revolutions in Egypt, USA and Spain.

Our project is more basic. It is on the ground perhaps that a wide range of phenomena can be recognized at their maximum degree of visibility.

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas

How do you (and citizens living in a particular city) find out about these regulations?

We started asking friends who are living in different cities and countries if they were aware of legal prescriptions that regulate the use of public spaces. Sometimes they would tell us anecdotes or they would suggest us to look for specific events on the news. For example Marko Peterlin recalled of a protest in Koper, which couldn't take place because the Slovenian law states that the organizers of any public event must always have with them a written agreement with the owner of the land where they want to assemble. In that case, protesters meant to express their disagreement with a local policy, through a demonstration on public ground. The problem then was that "public" means owned by the Municipality and managed by the local government. This resulted in a weird short-circuit, which we also tried to visualize.

We subsequently met with NGOs, with lawyers, we had meetings with the local police, and with public officials. While collecting anecdotes, listing procedures, and saving titles from the local news, we also started looking into the actual codes. We photocopied and downloaded when possible City Ordinances, Public Order Acts, Police Regulations, Park Regulations, even Children Protection Acts, from different cities and countries. Across these documents, we searched for numbers, quantities, distances, conditions, predicates. We searched for the abstractions that shape our public behaviors, to represent them visually.

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas. Test in Berlin. Photo: BIO50 / The Agency of Walking

Paolo, i read on your online page that you worked with Urban Sensing. That project relies a lot on digital technologies and is generally quite sophisticated. Friction Atlas, on the other hand, is pretty low tech: diagrams on the floor and walks. Why did you make the project so 'tangible', instead of having an app for example?

In code as much as in regulative rules, objects - even people - are abstracted. They cannot be known in themselves or in their being. Things are only known through their predicates, their "quantified" qualities. Citizens, as individuals or groups, are measured for their number, the noise they make, the age they have, the distance they keep, the money they have paid. Against the abstract, the mathematical, it is the real that embodies resistance. The materiality of the street, and of walking, are the natural media for making this tension tangible. They are also the best sites for opening a discussion which needed to be im-mediated. The street, in fact, afforded unexpected interactions of the public with our graphic devices, beyond what we had planned and designed.

We wanted to turn the physical context into an open playing field, or a loose game board, and keep the experience ambiguous. We posed an invitation to play, while valuing the uncertainty of the status of the performance as game. Taking part to a choreographed debate about regulative rules on the use of public space, by enacting such rules in a real public space, raises questions: Is this a game? Are we playing? Which role am I playing?

In the street, the boundary between being in and out of the game is blurred, and so are the social boundaries between who is playing and who is not. Our diagrams represent strollers, as well as protesters and policemen, but the player identity and the normal everyday identity always somehow overlap.

The sort of game we propose, at the same time playful, ironic and highly serious, has no goal - only rules, which without context, interpretation and the active participation of the visitors would exist only as static code, as ready-made, found predicates.

Keeping a 1:1 scalar ratio with the human body is central to affording this interplay and to really make the rules legible on the ground. It also helps maintaining different levels or engagement, from the superficial interaction of kids and cyclists, to the concerned reading of students and people with a bit more time.

Do you see Friction Atlas as a continuation of Urban Sensing, or is that a totally different approach to the urban environment?

We are getting accustomed to seeing the behavior of the citizens - users, customers, consumers - of any given city represented through spectacular real-time maps and data visualizations.

Our attempt this time was to look through our transparent society to try to visualize the other side. Rather than in a bird's view on the city, we were interested in looking to what's above it.

I certainly see Friction Atlas as a reflexive continuation of the work I have done in Urban Sensing, and at MIT's Senseable City Lab. As other projects and prototypes developed in the last couple of years - from my research residency at the Copenhagen Institute of Interaction Design, to a number of workshops, including at SALT Institute in Istanbul, and at Strelka Institute in Moscow - it shows a more critical edge. Central to all of them, anyway, is the transformation of data into fully visible (or sometimes audible) agents, in order to provide a possible model for opening up to new forms of civic and aesthetic engagement with hidden or abstract layers of the city. Even when - to say it again with Scott Lash - information is not *in* society or related *to* society, but it *is* society, and vice versa, the focus on space offers a tangible - and therefore debatable - representation and an embodiment of such immaterialities as code or law. The city is a mirror of the current society and culture.

Finally, but very importantly, in the case of Friction Atlas, Giuditta and I have worked together as "La Jetée". She has an encompassing fascination for invisible borders and flows, and has worked in the recent past with legal loopholes and related paradoxes. We believe that design has a lot of space for experimentation in these areas. How can it cope with invisible things? Sometimes ideas can be expressed very simply.

I'm also interested in the term 'friction' in the title? Where do you locate this friction?

The friction we wish to represent in our atlas is to be found in space, on the ground. Within the contemporary city, a plurality of processes and logics converge in the same sites. The sites extend to our own lives, to our desires and perspectives.

Densely weaved dispositions - more or less integrated, more or less coordinated - inhabit the same space we live in. Our everyday experience of the urban cannot be understood but in relation to other processes, other dimensional scales. The encounter between these different logics happens on contended ground, hence the friction. The security paradigm followed by many cities worldwide is inscribed in space, the commodification of our historical heritage is inscribed in space, the media bubble that surround global events is inscribed in space. The visibility of the battlegrounds, of the exceptional event - as argued among others by Andrea Mubi Brighenti - shows and proves the importance of the infra-ordinary in its invisibility. We don't sample from different cities in order to show specific conflicts, but because we are interested in the pervasivity of minor and daily frictions.

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Giuditta Vendrame and Paolo Patelli (La Jetée), Friction Atlas. Test in Berlin. Photo: BIO50 / The Agency of Walking

Is this an ongoing archive? or will Friction Atlas end with the biennial?

The diagrams represent cases from different cities, including Cairo, Genoa, London, Ljubljana, New York City, Rome, Stockholm, Sydney, Washington. We definitely want to continue with this research, add more cities, involve more people, expand the discourse. Comparisons between cities, countries are particularly enlightening: try with Singapore and Egypt, or with USA and Iceland. You would be very surprised. The installation in Ljubljana, together with an edited collection of comments, short interviews, excerpts from articles and public acts, constitute our notes towards a critical atlas.

We set up a tumblr, to start collecting external contributions: do you have any anecdote, article, or thought that you would like to share?

You can do it on the beta version of the Friction Atlas archive: http://frictionatlas.net/

We would also like to bring our research further by moving beyond prescriptive rules, and including other formal strategies that define "a priori" the possibilities - and the impossibilities - of movement (e.g. public transportation trajectories). Making tangible the invisible text of such implicit rules - which are biopolitical rather then disciplinary - would define - in the words of Andrea Mubi Bringhenti - subjective environments, or horizons, rather than traces and routes.

This is a big challenge, as we really want to keep all the levels of engagement present, especially the most playful.

Thanks Giuditta and Paolo!

Friction Atlas was developed by Paolo Patelli and Giuditta Vendrame for the Agency of Walking, BIO 50. The 24th Biennial of Design is open in various locations around Ljubljana until 7 December 2014.

Also part of BIO 50: Engine Block. Or how to turn a moped into a boat or a concrete mixer.

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Bas Princen, Cooling plant, Dubai, 2009

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Iwan Baan, Torre David #2, 2011 (Caracas)

Yesterday was the press view of Constructing Worlds: Photography and Architecture in the Modern Age at the Barbican Art Gallery. I eagerly go to those journalist tours because i'm allowed to take photos to my heart's content. The day after it's often strictly verboten.

Constructing Worlds looks at how photographers have documented key moments in the history of 20th and 21st century architecture: the skyscrapers rising up in New York, the remains of an industrial Europe well past its glory days, the glamorous Californian lifestyle of the 1940s, the unstoppable urbanisation of China, the traces of colonization in Africa, the aftermath of the war on Afghanistan, India's enthusiasm for modernity as built in Chandigarh by Le Corbusier, etc.

I was particularly seduced by the photos from the 1930s to 1970s. Their authors looked for beauty and evidences of social changes where most people would have only registered dust and mortar.

Constructing Worlds exhibits the work of 18 photographers only. But that's good enough for me as i'm no fan of those Barbican shows that asphyxiate you by their discouragingly high amount of images and information. I'm therefore going to follow suit and keep my comments short.

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Ed Ruscha, 5000 W Carling Way, 1967/1999 (Los Angeles)

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Ed Ruscha, Dodgers Stadium, 1000 Elysian Park Ave., 1967/1999

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

Ed Ruscha's views of Thirty-four Parking Lots in Los Angeles were taken from a helicopter. The series followed his iconic "Every Building on the Sunset Strip". Probably my favourite room in the show.

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Berenice Abbott, Rockefeller Center, New York City, 1932. © Berenice Abbott, Courtesy of Ron Kurtz and Howard Greenberg Gallery, New York

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Berenice Abbott, Encampment of the unemployed, New York City, 1935

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Berenice Abbott, Blossom Restaurant, 103 Bowery, Manhattan, October 03, 1935

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Berenice Abbott, Triborough Bridge #3, Manhattan, 1937

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Berenice Abbott, Columbus Circle, 1936

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Berenice Abbott, Manhattan Skyline: I. South Street and Jones Lane from East River Pier 11, 1936

In 1929, Berenice Abbott traveled to New York City after having spent eight years in Europe. In her absence, countless 19th-century buildings had been razed to make way for skyscrapers. She decided to stay in the country and document the changing face of the city. By 1940, the photographer had completed "Changing New York," an invaluable historical testimony of a life in Manhattan that has disappeared.

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Walker Evans, Bethlehem graveyard and steel mill, Pennsylvania, November 1935

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Walker Evans, Billboards and Frame Houses, Atlanta, GA 1936

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Walker Evans, Waterfront in New Orleans, French Market Sidewalk Scene, Louisiana, 1935

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Walker Evans, Negro house, New Orleans, Louisiana, 1936

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Walker Evans, Frame Houses. New Orleans, Louisiana, 1936. © Walker Evans Archive, The Metropolitan Museum of Art

Walker Evans is famous for the work he did for the Farm Security Administration documenting the effects of the Great Depression. I've seen these images several times before but i doubt i'll ever get tired of them. The photos were taken at the same time as Berenice Abbott's.

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Guy Tillim, Apartment Building, Avenue Bagamoyo, Beira, Mozambique, 2008

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Guy Tillim, Apartment Building, Beira, Mozambique, 2007

Guy Tillim's work examines modern history in Africa against the backdrop of its colonial and post-colonial architectural heritage.

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Stephen Shore, Second Street and South Main Street, Kalispell,, Montana, 1974

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Stephen Shore, Wigwam Motel, Holbrook, AZ, August 10, 1973

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Stephen Shore, Bellevue, Alberta, August 21, 1974

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Thomas Struth, Clinton Road, London, 1977

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Hiroshi Sugimoto, Chrysler Building (Architect: William van Alen), 1997

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Lucien Hervé-High Court of Justice, Chandigarh, 1955

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

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Constructing Worlds. Photography and Architecture in the Modern Age, Installation images at the Barbican Art Gallery. © Chris Jackson / Getty Images

The exhibition is curated by Alona Pardo and Elias Redstone and designed by architecture firm, Office KGDVS, led by Kersten Geers and David Van Severen.

Constructing Worlds: Photography and Architecture in the Modern Age is at the Barbican Art Gallery until 11 January 2015.

Previously: Guy Tillim: Avenue Patrice Lumumba and Burke + Norfolk: Photographs From The War In Afghanistan.

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