I've been dreaming of interviewing The Center for Tactical Magic ever since i read about the existence of this activist art collective in one of my favourite art catalogues ever: The Interventionists. Users' Manual for the Creative Disruption of Everyday Life.
Lucky me, last week, i finally got to talk over Skype with Aaron Gach, the founder of the Center for Tactical Magic and a professor at the California College of the Arts. Gach is an artist with the most unusual background. As part of his artistic training, he decided to study with 3 people who have their own understanding of power: a magician, a ninja, and a private investigator and there is a bit of the strategies deployed by each of these figures in the work of the CTM. The work of the group is further enriched by the expertise brought about by the individuals and communities CTM collaborates with: hypnotists, biologists, engineers, nurses, military intelligence officers, radical ecologists, former bank robbers, security experts, etc.
The Center for Tactical Magic uses any craft and scheme available, from the most magical to the most pragmatic, to address issues of power relations and self-empowerment. At the CTM we are committed to achieving the Great Work of Tactical Magic through community-based projects, daily interdiction, and the activation of latent energies toward positive social transformation.
CTM's work combines appealing aesthetics, humour and language with actions that invite people to think, question and reclaim their civil rights. Their most famous project is the Tactical Ice Cream Unit, a truck distributing free ice cream along with propaganda developed by local progressive groups. Another of their initiative saw them launch a bank heist contest. And a year before that, they responded to New York's stop-and-frisk policy by screening Linking & Unlinking on a digital billboard in Manhattan. The billboard showed amateur footage demonstrating how to pick a pair of handcuffs, magicians performing a classic magic trick called "linking rings", while a text from the American Civil Liberties Union was scrolling down and explaining passersby what their rights were if they were stopped by the police. In 2013, they set up big Witches' Cradles that evoke the Inquisition and enveloped people into an altered state (of consciousness, or an altered political state). Most recently, Gach directed and performed a radical magic show which drew parallels between magic acts and contemporary issues such as economic manipulation, political deception, vanishing resources, and social transformation.
Hi Aaron! The Tactical Ice Cream Unit is probably one of my favorite works ever. I first heard about it almost 10 years ago. The vehicle combines 'a number of successful activist strategies (Food-Not-Bombs, Copwatch, Indymedia, infoshops, etc) into one mega-mobile", and comes with high-tech surveillance devices. Are you still using it?
Yes, still using it! Not as much as when it was launched but it does still make it out occasionally. So it's definitely not an everyday operation, it's kind of a labour of love.
When do you use it? When there's something happening and you feel it would be right to intervene? Or more when you're invited by a museum or festival for example?
All of the above. Sometimes it's an invitation to do something with it. Sometimes there's an event happening or an issue where it seems like it would make sense to bring it out.
Recently, and for the first time, there was a protest event where i actually felt like it was inappropriate to bring it out. We've been having a lot of racial tensions in the U.S. and there were a number of protests in Oakland around police brutality. We've done police accountability protests with the Tactical Ice Cream Unit in the past. The TICU always brings with it a sort of levity or lightheartedness or a little bit of the carnival along with the serious critique. But because of how grave and serious these racial issues are, there was a sense that bringing the ice cream unit out to those protests could potentially give the wrong impression.
Have you found that you had to update or modify in any way your tools and strategies over the 10 years you've had the van?
Of course a lot has changed since we've launched it. At the end of 2004, there were not many mobile food trucks, it was not really a phenomenon at the time. The TICU turned heads a lot more than it does now in terms of its general appearance. But at the same time it also functions now as some kind of camouflage that didn't exist then. So in terms of masking ourselves, in some ways it got easier since it makes less of a visual impact.
As for the technology, when we first launched it we were using a mobile wifi transmitter and making it a mobile wifi hotspot. At the time, it wasn't that common at all. It was also expensive to do and it worked most of the time but the speeds for access were really slow. Most people now have access to the internet on their smartphone. The surveillance on the vehicle is still functional and the amount that we can record has increased. In the beginning, our whole hard drive system was something like 200 gigabytes and that has certainly grown. Even then, the way that we had the system up made it possible to record quite a lot. We had to do a tremendous amount of research to set up the power system. The vehicle was running on a gasoline combustion engine. We also had a generator, a battery bank that was being charged by solar panels and at the same time we were running something called phantom power which is a way of silently powering the electronics. This was essential because we wanted to make sure that the surveillance could be running even when the vehicle was turned off. This was more done as a theoretical design process, we wanted to see whether we could accomplish that goal. And there had been rumours floating around the internet of primarily military technologies that were able to do this and sure enough we were able to work with an engineer and designer whose main clients were the military and oil companies. Oil companies would run phantom power at remote sites where they didn't have power lines but they wanted to monitor oil fields. So we designed a system able to do that too for the vehicle. What is interesting is that, when we were in Indiana, the police illegally searched the TIU without our knowledge and they were caught on camera doing that. They didn't know it because the vehicle was turned off and there was no indication that there was power running.
Did you do something about it?
At the time we contacted lawyers and asked what we could do about it but they informed us that there wasn't much that we could do. We thought about publicizing the video footage. But at the time the TICU wasn't heavily used and we thought that making that footage available would potentially prevent that capability being used in the future. We didn't do much with it, it's in the archive. Maybe at some point, we'll break it out.
The ice cream truck driver hands out 'food for thoughts' leaflets along with the ice creams. What kind of 'propaganda flavors' can customers chose from? What's the content of the leaflets? Is it always the same or does it adapt to the events?
It changes all the time. At this point, we've distributed 200 to 250 different pieces of information. Some of it we select or curate. And some of it is selected by the organizations that contact us and send us material to distribute. The idea with leaflets was, on the one hand, to look at models of distribution that exist in community activism, models of distribution where people come together and act on campaigns that they might otherwise not hear or read about. On the other hand, we were looking at the structure of distribution. People are often reluctant to take a leaflet from an activist who is standing in front of them but there are different ways to get people to accept the information. For example, if you go to a restaurant, and you get handed a menu, you don't resent the waiter for asking you to make a selection. You tend not to select in the menu an item that you are put off by. You look at the options and decide on something that is appealing to you. So we were thinking of the menu as a structure for distribution as well. Our 'propaganda' menu exists side by side with different flavours of ice cream and people can pick and choose. There is no direct correlation between a chocolate ice cream and anarchism, for example. People can mix and match what flavours they want. The actual topics of information found on the leaflets go from alternative energy to guerrilla gardening to social justice, to gender justice, to war, war on poverty, class issues, feminism, post-feminism, etc. We also have a few historical items such as the Black Panthers Ten Point Plan. And we have information that is specifically created for children about Greenpeace, the Electronic Frontier Foundation, civil liberties, surveillance, etc. It's a huge range of information.
Of course, i have to ask you about magic. I always dismissed the magic dimension of your work simply because i don't take magic seriously at all. But i realize that you do take magic seriously. Reading your interviews, i found that you are not only well versed in magic but you are also very specific about it. You said in an interview with the Center for Artistic Activism: "I'm definitely situated within the spectrum of stage magic and theatrical performance on one end, and occult and metaphysics, kind of ritual magic, supernatural phenomena on the other end." That surprised me because words like 'occult', 'ritual' and 'supernatural' are a bit dark, aren't they? How does occultism for example apply to your artistic practice? And can i engage with your work while keeping on ignoring any reference to magic?
I hope so. I think one of the strategies and challenges when building this kind of work is to always incorporate multiple points of access. Within the work, there has to be different moments that appeal to different people. We're trying to develop projects that are multilayered so magic itself itself exists at multiple levels. What i mean by that is that everyone understands that word 'magic' but they imagine completely different things when they hear the word 'magic.' We use the same language and assume an understanding but this understanding is vastly different on a subjective level and you can even add on a collective subjective level. When we use the term 'magic' both in the name and the realization of a project, there is a realization that there is going to be an explosion of meanings and at the same time a sort of dismissal. This dismissal is historically a way in which magic sometimes alienates itself, sometimes protects itself, sometimes separates itself and that can be as a survival strategy, as an escapist notion, etc. But i think that's where the power of that idea of magic exists.
In the Center for Tactical Magic, there is usually a concerted effort to try and balance out or explore the range of possibilities which typically get book ended between tricks on the one hand and some degree of spirituality on the other hand. When i began this investigation, my thinking was that magic existed only as tricks as a stage magician. The magician i worked with felt very differently. He thought that his understanding of illusionist magic would help in differentiating between the spookier sides of magic. And that opened up a lot of different interpretations and possibilities for me. Since then that exploration has become pivotal within the development for the Center for Tactical Magic.
How was it pivotal?
What i mean by that is that it seems like a fixed position from which you can rotate in any direction. From a position of acting, it means that you have multiple options and directions that you can move from. It's a formal strategy, it's a discursive strategy, it's also a performative strategy for acting in the world. And some of that is informed by studying within martial arts where i learnt that you don't ever want to be stuck in a place where your options are very limited. For me it's not about being ambiguous or evasive just for the sake of being ambiguous or evasive. But you open up options, different ways of addressing an issue, a topic, an event or a situation as it is unfolding.
I'd like to go back to the darker side of magic. In the interview mentioned above you talk about occultism. Does it apply to your practice?
The word 'occult' literally means 'hidden.' When we think about what is hidden then all of a sudden what we might consider occult enters into that same conversation. So we look at things like military black budgets, or laws that are not transparent in terms of how they affect people's life. Or even the degree to which we understand technologies or how technologies operate or function, both in a physical sense -what is exactly happening inside the phone mechanically or electronically- but also in the sense of how does the functioning of a technology impacts us in ways that we don't see. And this can include things like the fact that it relies on invisible signals, it relies on the electromagnetic spectrum which our eyes cannot detect without other devices. But it also determines our social relations or economic relations because it impacts the way we communicate. Once we are open to those associations, we start to backtrack and look at how the history of occultism is very directly tied to our present condition. What i mean by that is the history of occultism is not simply people behaving in 'dark ways'. You need to banish this false dichotomy of light and dark, good and evil. There are certainly colonial overtones to that association of dark as evil and making those connections simplifies what it is that we are talking about. Most of the claims historically of occultism in a huge varieties of areas is -to one degree or another- about empowerment and i think in 'darker' instances, empowerment means power over others but in the more positive instances, it also means communal power or coming to power together, or avoiding situations where abuse of power by others is taking place.
How can we bring more magic to our life? And should we?
I would go back one moment and say: i think you should take magic seriously but also not too seriously. I would say the same thing about government business. I think you should take government and business seriously but also not too seriously?
Why not too seriously?
I think because you have to approach it critically. You have to approach it rigorously. You have to be engaged.
There is also power in play. There is magic that happens when you approach something with a degree of levity, with this idea that there are rules to any game. And once you understand the game, there are ways to bend those rules or figure out how to interact in ways that might be unexpected. So it's not that we dismiss corporations or governments or that we disregard their power in the world but at the same time, if we take them too seriously and only too seriously we miss out on opportunities to subvert or circumvent what it is that they are doing in the world.
Maybe the shorter version would be to say that i think government and corporations are invested in shaping reality and shaping reality is an inherently creative process and playing is also a way to engaging creative process to shape alternative realities.
But let's get back to your earlier question which was about making the world more magical. I understand that when we develop projects that are magic related, people might be dismissive towards either that name 'magic' or the idea of magic. It is sometimes a barrier to entry but the hope is also that once people realize that their assumptions were false or misguided or oversimplified, there is an opening up in terms of what the possibilities are. Magic is all about constantly redirecting people's assumptions or perceptions about the world. So one thing you can do to have a magical outlook is to always question things like use value, status quo, associations for either materials or relationships and realize they are not fixed. Once you understand the ability to morph those relationships or associations, all of a sudden everything starts to become more magical.
The Center for Tactical Magic seems to be quite successful at engaging the audience, at making them part of the experiences. Including people who might otherwise not be particularly responsive to the kind of social, political or economical issues your projects raise. How do you manage that? Are there some rules? Special tricks?
We use a pop aesthetic at times and we try and draw from cultural themes and expressions that people can relate to but there is this uncanny element to all the projects: people will see something that they are familiar with but presented in an unfamiliar way. In that moment, a recalibration takes place, people start to consider their understanding of the familiar part with respect to the unfamiliar part. When it's done really well, it forces new cognitive categories to form. All of a sudden people have to create a new category and if that new category is potent enough it will also infect all future associations.
To go back to the Ice Cream Unit for example, people understand ice cream truck and they understand propaganda but when they have the two things together, it changes their associations with both and in the future there is a moment where they encounter another ice cream truck or another model of distribution and it will connect back to the experience that they had with the TICU and potentially it informs their future relations to other things that are connected. Maybe that is expecting too much from a project but that's the hope in the way these projects are constructed.
Most of the work of the Center is quite political. Have you ever faced any legal retaliation? or problems with the police? for the Linking & Unlinking - Know Your Rights screening, for example? Or for any other work?
It happens on a semi regular basis. There haven't been huge entanglement. Knock on wood! Most of the time, it's some sort of confrontation and it usually more or less resolves itself quietly. There was a standoff with the police with the TICU in Vancouver, Canada, that lasted quite a long time. With the Cricket-Activated Defense System, there were some interesting correspondence, communications and interviews that seemed to come from law enforcement. Strangely enough, the police tried to prevent the kite project (that we did at Huntington Beach in California) from happening and when it did happen they flew a helicopter over the event to monitor it.
It happens from time to time but we do consult with lawyers around our projects, we are generally pretty good at making sure that the conversation with law enforcement doesn't get us into hotter water than need be. I'm trying to be very careful with my language there. There have been some tough times. There's been some times when we have attracted attention that was problematic.
So you're not actively encouraging confrontation or censorship as a part of your artistic strategy? As a way to generate more attention about a given issue?
No. Projects that court confrontation often strengthen polemic and thinking in those binary systems. Even in projects where we are addressing things like police and protester dynamics, we are not trying to diffuse those situations, we are trying to figure out the approach or the position from which you can have the most productive outcome. A confrontation where you are doing something potentially illegal and then you get a police response does not produce a ripple through a greater discourse. What might become a productive moment is when someone is actually practicing their civil or legal rights within a certain context and that person makes visible the power dynamics that might suppress those rights.
I'm curious about The Light & Dark Arts: A Radical Magic Show that ended a few weeks ago at UC Davis' Main Theater. What was the show like?
It was the first time that i had ever worked into a theatre context. I was writing and directing. Two weeks before the first show, the lead actor broke his hand. He happened to be a student that i was training as a magician. I ended up having to step in as the lead, as the magician. I ended up writing, directing and acting for this first theatre production. So it was unexpected and a bit wild but the audience response was fantastic. People seemed to love it.
Any other upcoming works, research, events you'd like to share with us?
There's two shows coming up. One is an art show in New Mexico that is specifically oriented around the police state and surveillance. And then there's an event in Atlanta, Georgia. A public arts festival with tens of thousands of people that come out for a single night event. We have a new project in the works for that event but it's still very much in development.
Publisher OR Books writes: On Saadiyat Island, just off the coast of Abu Dhabi, branches of iconic cultural institutions, including the Louvre, the Guggenheim, the British Museum and New York University, are taking shape to the designs of starchitects such as Frank Gehry, Jean Nouvel, Zaha Hadid, and Norman Foster. In this way, the United Arab Emirates (UAE) seeks to burnish its reputation as a sophisticated destination for wealthy visitors and residents.
Beneath the glossy veneer of the Saadiyat real estate plan, however, lies a tawdry reality. Those laboring on the construction sites are migrant workers who arrive from poor countries heavily indebted as a result of recruitment and transit fees. Once in the UAE the sponsoring employer takes their passports, houses them in sub-standard labor camps, pays much less than they were promised, and enforces a punishing work regimen. If they protest publicly, they risk arrest, beatings, and deportation.
For five years, the Gulf Labor Coalition, a cosmopolitan group of artists and writers, has been pressuring Saadiyat's Western cultural brands to ensure worker protections. Gulf Labor has coordinated a boycott of the Guggenheim Abu Dhabi and pioneered innovative direct action that has involved several spectacular museum occupations. As part of a year-long initiative, an array of artists, writers, and activists submitted a work, a text, or an action.
Some 15 million migrant workers, mostly from South Asia, form the vast majority of the labor force in most Gulf states. In the UAE and Qatar, 90 percent of the work force and the population are migrant workers (both white collar and blue collar.) No matter how many years they have lived and worked there, or even if they were born there, these people have no voting, representation, or association rights. Thousands of them are currently working on construction sites to create Saadiyat Island ("Island of Happiness"), a £17bn cultural hub in Abu Dhabi that will soon host the new premises of international cultural institutions such as New York University, the Louvre and the Guggenheim.
The men constructing the architectural 'icons' designed by the likes of Frank Gehry, Jean Nouvel, Zaha Hadid (aka the It's not my duty as an architect to look at it lady) and Tadao Ando, are trapped there since their passports have been confiscated, they receive lower than expected wages, are confined to substandard housing, are submitted to 10pm curfew, poor food as well as segregation in the official labour camp, etc.
Because of the notoriously low wages they receive, migrant labourers often have to work for years before they manage to pay off the debt they contracted to cover the recruitment and travel fees to the UAE. This recruitment debt is central to the system. No one would labor under such conditions unless they had to pay it off.
If they protest against the poor living/working conditions or unpaid wages, the workers get punished or deported.
And anyone who speaks in their favour isn't welcome in the country...
The editor of the book, Andrew Ross, is a professor of Social and Cultural Analysis at New York University, and a social activist. Earlier this year, he wanted to do some research on labor issues at Abu Dhabi, where a campus of his university is located but he was informed at JFK Airport that he could not enter the country. Similar rebukes awaited other members of the Gulf Labor Coalition. Artist Ashok Sukumaran was denied a visa to travel to the UAE. Walid Raad was turned back at the Dubai airport.
The artist group Gulf Labor Coalition has spent the past few years investigating and denouncing migrant worker abuse. But while the UAE and other Gulf governments can largely ignore the group's calls, the European and American cultural institutions who will be present on Saadiyat Island need to protect their 'brand' and the values they stand for. As Paula Chakravartty and Nitasha Dhillon write in their essay for the book: it remains urgent to continue to use our leverage as artists and scholars to hold US and European museums and universities accountable in their home countries for the abuses against human dignity of workers thousands of miles away.
The Gulf. High Culture/Hard Labor charters Gulf Labor's fight in a series of texts written by members of the coalition.
Some of the authors explore Western institutions complicity in migrant worker abuse on Saadiyat, other analyse the place of construction workers in the building process, report on visits and interviews with deported workers, look at the artists who have engaged in direct political action, draw lessons from examples of art and activism in the global stage, document performances organised inside the Guggenheim Museum in New York by G.U.L.F. (Global Ultra Luxury Faction, a 'Gulf Labor spinoff devoted to direct action' Global Ultra Luxury Faction, etc.
The Gulf. High Culture/Hard Labor is lively, opinionated and eye-opening book. It is an important publication because of the realities it reveals and investigates. But it does more than that. The essays it contains can be read as a series of lessons for anyone, journalists, artists or activists, who want to take a stand, protest and challenge every complicit element leading to a situation of abuse and injustice.
Because things might be slow to change but that doesn't mean protesting is useless. As Sarah Leah Whitson notes in the foreword:
The efforts of Gulf Labor have prevented these world-class institutions from sweeping their complicity in the exploitation of migrant workers under Abu Dhabi's desert sands.
Most significantly, these efforts have produced concrete results, with the private institutions and businesses involved in Saadiyat Island agreeing to a minimum set of commitments to protect worker rights, including the right to change jobs, an end to passport confiscation, and the refunding of recruiting fees.
And the campaign has even led the UAE grudgingly to adopt some legislative reforms, including electronic payment of wages, changes to the sponsorship system that allow workers to switch jobs under limited circumstances, and greater supervision of work conditions by a vastly expanded pool of government inspectors.
By the way, Hyperallergic is doing a great job at keeping up with Gulf Labor latest actions.
Once in a blue moon i write a quick review of Neural magazine. I should do it for every single issue, really. It is that good. I'm not sure issue 51 (themed Revive) is officially out already but since i spent the weekend with it, i couldn't wait to write a few lines about it.
One of the reasons why i like the magazine so much is the way it mixes and matches efficiently short articles about media artworks, music or books with long, insightful essays, festival reports and interviews. So that's the fast and informative formula of a blog combined with the lengthy and reflective pace of a magazine (and yes, i'm conscious i'm making generalizations about blogs vs mags here.)
Neural follows three main threads: new media art, e-music and hacktivism and i'm going to scramble everything in this quick overview of what grabbed my attention in the magazine.
First of all, the installations and other art projects. Some completely new to me. Others that made me think that Neural, Creative Applications and wmmna are on the same mailing list for many artists. Which, obviously, makes perfect sense.
Re-creating the crystal radio design widely used during WWI, the Crystal Line device broadcasts a text to speech version of military news and 'future of warfare' chatter culled from various defence blogs. Initiating a bit of a temporal loop, an encounter with the radio curiously juxtaposes the crucial moment that the 'zone of control' in warfighting extended into the electromagnetic spectrum with military R&D's ceaseless march forward.
The clever Cuckoo, by Jochen Maria Weber, uses social network in order to communicate privately. Cuckoo encrypts messages into randomly generated words, meanings and noise and then scatter them over multiple communication networks. Any receiving Cuckoo-unit will then filter and decrypt the important posts.
In Biophonic Garden, sprouted corn seeds are submerged into water. A constant sine tone of 220 hertz is played into the water which makes the roots bend towards the sound source. The phenomena of plants reacting to acoustic stimuli originated from scientific research into plant bioacoustics and is used in the work to raise questions about the communication of plants and the acoustic environment we humans live in.
The intriguing Aurelia1+Hz / proto viva generator uses jellyfish to explore how living organisms can interface and interact with machines (that's if i understood correctly what the project is about.)
I was also pleased to find in the magazine a series of reviews of books i didn't know of and of books i've read but haven't reviewed yet (and will probably never review because i'm so easily overwhelmed by life.)
An Atlas of Agendas. Mapping the Power, Mapping the Commons is a political, social and economic atlas: informing the public about socio-political power structures and activating opportunities for the self and the commons. Also it's by Bureau d'Etudes. Meaning that i need to get my hands on a copy ASAP.
Speaking of being greedy, i'm going to nab one of those as well: Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism, by Christina Dunbar-Hester.
Plants, Androids and Operators - A Post-Media Handbook (which is also available as a free PDF) documents --in essays, images and art projects-- the contemporary post-media practice.
Issue 51 of Neural also counts with a few remarkable interviews with remarkable people: sound artist Graham Dunning who works with found materials and 'unwanted sound', media archaeologist and net art archivist Ben Fino-Radin, artist Constant Dullaart, that witty GIF goddess called Olia Lialina, artist/author/curator Jon Ippolito, ...
The jewel of the crown of Issue 51 is the interview with Gabriele Zaverio from the Museo dell'Informatica Funzionante (the Working IT Museum) in Palazzolo Acreide, a small town in Sicily. What a great place and community this museum seems to be! The Museum has collected over the years some 2000 historical pieces (some of them dating back to the 1940s) and is constantly repairing computers, organizing workshops and exhibitions, preserving documents in digital format and sharing everything with the public (there is a lot to browse and gape at on their website)
Also in Neural lots of CD music review. And festival reports. But i have to draw a line somewhere, this post is getting a bit too long and enthusiastic.
Science fiction films (with a few notable exceptions such as Stanley Kubrick's 2001: a Space Odyssey) often show rockets and spaceships exploding loudly in outer space. Yet, there's no noise in empty space. What we call "sound" is actually vibrations in the air.
In a similar way but with more scientific backing, Sam Conran, a recent graduate from the Design Interactions course at the RCA, has been looking at the 'sonification' of live macrocosmic phenomena that are actually not producing any sound. The result of his research is the Kabbalistic Synthesizer, a fully functioning prototype that uses the combination of electric signals in order to simultaneously synthesises variations in the Earth's magnetic field with cosmic rays and Jupiter's magnetic storms.
The device is comprised of a Helmholtz Coil and Magnetometer to create a uniform magnetic field and read local variations in the Earth's magnetic field; an 18 tube drift hodoscope to detect cosmic rays and their trajectory from other galaxies; a fractal reflector and loop antennae mounted on a robotic base that tracks Jupiter or the Sun and picks up magnetic storms coming from these celestial bodies. These instruments can be modulated from a control panel.
The project has ultimately been a quest to understand sound design as a gnostic utility and fundamental precedent to the way we might interact and value our environments..
Hi Sam! Why do you think it was important to speculate on sounds that don't exist? What guided your design of these sounds?
I guess being what, I am I have a relationship with sounds that don't exist - that's maybe why it's important for me, I'm passionate about exploring sound design that changes perceptions in real life as opposed to just on screen. My project was guided by this and an example called 'the Singing Comet' is useful. This was a sound that went viral and was the main talking point of the ESA Philae mission in the media.
What's interesting is the way the sound was portrayed in relation to the science and the aesthetic relationship the designer made to film sound. We all have this collective idea of what space sounds like which is guided by the big sound designers and the first filmic experiences of space - I think what the singing comet demonstrates through its success is the desire we have for space to be animistic as opposed to a vacuous dead zone. What guided my design approach was the way this sound had been pushed into the world as being real. The sound of the singing comet was designed and made by compressing data from days into seconds and mapping this to parameters of effects within some sound software.
I personally thought it would be nice to focus on the idea of creating real sounds and real time relations that we can perceive in relation to our own perception of time - not compressed and not stretched. As a result, the only parts of which I can say I have designed are the ways in which the user of the synthesizer can play and manipulate the raw inputs - the rest is process. It has been more about the pulling together of already present techniques for monitoring these phenomena than designing sounds to fit them. The sounds are not being determined by me but the ways in which they are listened to, which is guided by these processes.
The radio telescope is a noise input receiving raw noise coming from the cosmos and Jupiter/Sun noise emissions at 21mhz. The Magnetometer is translating real-time 'micro Tesla' fluctuations in the Earth's magnetic field to a process called FM Synthesis, an already existing theory of natural sound synthesis invented by John Chowning in 1973 (Stanford department of AI). The Cosmic Ray detector doesn't make sound at all but is acting as a random event generator - as the arrival of cosmic rays are truly random I liked the idea of using them to trigger processes on the other sounds, like a keyboard on a traditional synth.
How much of the technology already existed and how much have you had to develop yourself to create these 3 instruments?
The technology for all the devices was already invented but it's not off the shelf. Each device was designed and hand built, needing a lot of help in the end to produce. I have not read physics so the process has relied on many generous people at Imperial Blackett Lab and online. There was a lot of googling.
I was also curious about the reasons behind your choice of phenomena to explore: why magnetic storms, cosmic ray, the Earth's magnetic field? What did you find particularly interesting?
I ended up replacing the usual functions of a synthesizer; noise - signal and operator/keyboard with object-based experiments that could replace these. In the Synth the noise is coming from the radio telescope the signal is coming from the Helmholtz Coil/fluxgate and the Keyboard is operated by the Cosmic Ray detector. There is no real reason beyond that - they are all fascinating phenomena and I became aware of some strange theories about the Earth's magnetic field along the way but it wasn't my intention to sign post anything like that. During the show that's something I had to be clear about - this is a synth that takes raw inputs and allows you to adjust, play and filter the outputs, in the end its all about the theatricality of the sound and its source and how that changes our perception.
Are you planning to expand the project and work on other macrocosmic phenomena?
I am looking into ways in which I can streamline it, make it more portable. I would like to get it to a stage where I can start to collaborate with it, the synth outputs a standard control voltage so the cosmic rays could be used with other modular systems. I think next steps is to have all the software self contained in the synth. I'm trying to figure out the best way to do this at the moment.
Your work is called Kabbalistic Synthesizer. I get the Synthesizer part but why Kabbalistic? Why introduce this element of esoterism in the work?
Kabbalistic is a very loaded word, but I feel it could not be anything else. The name was the starting point, it came before the project had begun to develop and has stuck all the way. It fits the process which definitely on the technical side of things has pushed me into a new world - It's inherently esoteric if you're not a proper physicist I think. It's how I've felt all this year. The name also fulfills a role as a brand name for the device, everyone can relate to that I think - it frames the synth as a product. Hooking into the macrocosmic through sound is quite desirable I discovered. A lot of people during the RCA show approached it as a genuine attempt at innovation.
One of the final paragraphs in the Creative Applications article about your project says: 'The Kabalistic Synthesizer is an alchemists approach to sound making and ultimately a project that seeks to understand and debate the psycho-social implications that could occur when science is experienced/accessed through a commercial medium and how 'sonification' can be combined with the synthesizer to access and objectify the unknown.' Could you explain with more details the bit about "the psycho-social implications that could occur when science is experienced/accessed through a commercial medium"? What did you mean by that?
What i'm trying to get across is really summed up in the comments section of the singing comet recording. I intended the project and its sounds to provide a kind of critical ambience to think about design strategies that might incorperate mindfulness through immersive/hedonistic tech. I'M A BIG FAN OF THIS BTW.
Do the instruments function in any type of place, environment and condition? What are the best conditions for the instruments?
The best time and place would be up a mountain during a solar storm.
At the show, you mentioned that you were going to do some performances with the instruments? Where will this happen? And what is a performance like? Do you just let the instruments pick up and create the sound or do you actually intervene and modulate them for example?
I'm doing a performance on the 8th August at Wilderness Festival; it's a show and tell as a backdrop to a talk by John Thackara about "ways of knowing and monitoring the environment in real-time as the starting point for a new economy". I'm hoping to get good signals as its in a forest outside of London - I will play with what's there, have a listen. It's all dependent on what's picked up and then there are the controls that make it more of a performance, its a lot like tuning a radio, you can dial in.
You can listen to some of the sounds produced by the synthesizer on soundcloud.
Fire and Forget is military jargon for a type of missile guidance that can hit its target without the launcher being in line-of-sight. The expression is symptomatic of a new type of warfare in which the people firing, killing and destroying are emancipated from the fear for their own life and the direct physical -or sometimes even visual- contact with the victim(s) of their shooting.
The exhibition Fire and forget. On violence currently on view at KW in Berlin asks whether this loss of direct physical confrontation has led to a new definition, production and perception of violence.
The show follows four main threads: the first one explores how Borders are decided and enforced to contain political, economic, cultural, religious, or ethnic tensions. Affect explores the long-term impact that violence from a distance has on the human psyche. Memory/Remembrance investigates whether history and commemoration inhibits or heighten violence. The final section looks at how the Event of violence itself reflects how each new situation is once again a singular moment of release, and of a decision for violence.
Fire and Forget is a brilliant and timely exhibition. However, while walking from room to room, i kept wondering why most works were not accompanied by descriptions and commentaries. Some of the pieces on show as self-explanatory, others left me frustrated. I could guess they were interesting and coherent with the whole show but i missed the elements to fully understand why.
Fortunately, i am a blogger and had plenty of time to waste online looking for the missing pieces of information...
Many Europeans (and Americans) tend to associate the Middle East with violence and several pieces in the show brought some much needed nuance to our prejudices.
Sharif Waked's film, To Be Continued, follows the format of the "living martyr" videos made by a man or woman declaring in front of a camera their determination to carry out a suicide bombing mission.
In this video, however, the protagonist, played by Palestinian actor Saleh Bakri, doesn't read his last will. Instead, he reads a lengthy excerpt from One Thousand and One Nights. By mixing the familiar and feared figure of the suicide bomber with poetic texts, Sharif Waked confounds our expectations of masculinity in the Islamic world.
Hrair Sarkissian's series Execution Squares shows fourteen public squares in three Syrian cities (Aleppo, Lattakia and Damascus) at sun rise, the time when executions usually take place in the country. The condemned person is often brought to the square at 4.30am, and their body is left there until around 9am so that citizens can witness the scene on their way to school or work.
In the late 1990s and 2000, the practice became less frequent in Damascus because the capital had become more internationally visible, Sarkissian explained in an interview. But they kept doing it in other cities such as Aleppo, where at least one person was hanged every month.
The artist was as a schoolboy when he passed one of these squares and saw three bodies hanging in the street. The image has haunted him ever since. Sarkissian's images show empty streets, there is not hanging body to gape at, no trace of violence. Yet, once you know the story, the photos seem to be haunted by the brutality that took place on those squares.
Nowhere does daily border violence manifests itself so stringently as inside and around the ever expanding Israel land. Walls, watchtowers, constant controls and other obstacles regulate the movements of Palestinians.
A room in the show is almost entirely occupied by The Country Sand Printer, by Roy Brand, Ori Scialom, and Keren Yeala Golan. The machine traces the evolution of the Israeli state through its settlements, reprinting over and over the expansion of Israel into the sand. A mechanic metal needle lightly draws lines in the sand, ensuring that traces of previous plans remain visible while new lines demarcate new territory borders.
A nearby video by Armin Linke, Road Block at Gaza City, Netsarem Settlement Beach Road (sorry couldn't find any image of it online and i didn't take any of the work while i was visiting the show) seems to respond to the invasive printing machine. The film shows how an event as banal as a roadblock near Gaza City forces Palestinians to make long and uncomfortable detours by foot in order to get to their intended destination. Colonization isn't just a theft of land, it is also a theft of time.
Like Sarkissian , Henning Rogge documents in photos the scars left by violent events. This time however the traces are still visible. His series shows how nature has adapted to the craters left by the bombs launched during World War II in Germany. After the war, the craters have slowly become part of the landscape and ecology, offering new pond habitats for animals, including endangered species.
The ultra short video above reminded me how good Hirst can be. The artist takes a gun and explain very quietly the best way to shoot yourself.
Buck Fever explores the emotions that surround the violence perpetrated against animals. The film is a You Tube collage of hunter amateur recording the moments directly preceding and following the shooting an animal.
Guided missiles and drones are clear examples of Fire and Forget technology. James Bridle's silhouette of a drone painted on the street in front of KW reminds us that, in spite of being located far away from the battlefield, drone operators fire but do not forget. Studies have shown that the pilots can still develop mental health problems like depression, anxiety as well as other symptoms of post-traumatic stress disorder.
More images from the show:
Fire and forget. On violence was curated by Ellen Blumenstein and Daniel Tyradellis. The show remains open until August 30, 2015 at KW Institute for Contemporary Art in Berlin.