Don’t mess with us or we’ll take our $300m and go home! (Pretty please…)

WATCH OUT!! Lawmakers are looking to change privacy laws that internet advertising is so dependent on to do what we do. Research has proven that in-order for online advertising to work you gotta get results that are quantifiable, whether it’s stats or behavioral data. Did you know the online ad biz is as important as small farms are to the U.S economy? Me neither. I’m thinking the government may want to layoff the big boy that contributes $300m to bottom line. Take a look at this slightly corny short  and research that was conducted to see just how they don’t wanna piece of us. 

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Jinean Robinson is a CCIO (Chief Creative Infections Officer) who has been in the communications industry for over 8 years, specializing in creative strategy and implementation, 360 branding communications, and brand development. Join her at http://twitter.com/germllc or her firm’s website at http://germonline.com/


Guantanamo museum and other tales of extraordinary rendition at Helga de Alvear gallery in Madrid

The Helga de Alvear gallery in Madrid is currently running a (very timely) exhibition on the controversial topic of Extraordinary Rendition. The expression was coined by the Bush administration to define new legal measures designed to sidestep the existing Human Rights system and deprive some individuals from its protection in the name of the fight against terrorism.

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Detainees at Camp X-Ray, at Naval Base Guantanamo Bay, Cuba

The Patriot Act, for example, expands the authority of US law enforcement agencies for “terrorism investigation.” It limits -when it does not completely abolish it- citizens’ right to privacy or freedom of expression, allows for kidnapping and confinement of persons without charges, without trial or a detention period as has been happening in Guantanamo since 2002.

The gallery invited four renowned artists to reflect on the issue.

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Elmgreen and Dragset, Phone Home, 2008

Phone Home (2003), by Elmgreen & Dragset, is the only work on exhibit that has not been created specifically for the show. The installation looks at the loss of the right to privacy in communications. Five telephone cabins are lined up in the gallery. A note informs visitors that they can call anyone they want in the world for free. Of course there’s a trick: the conversation you are planning to have will be broadcast in the gallery, recorded and a table with audio players and headphones will enable future visitors to listen to what you said.

Under the new rules of extraordinary rendition, physical and psychological torture is justified. Spanish Inquisition-like methods of torture get toned down but that’s because some of them are given new names, like waterboarding, in an attempt to disguise their true meaning.

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Santiago Sierra, Público iluminado con generador de gasolina, 2008

True to his wam bam approach, Santiago Sierra chose to address torture and one of its most commonly applied methods: the sleep deprivation of detainees for days and months. A huge spotlight operated by a generator are the only elements in Público iluminado con generador de gasolina [Public illuminated by oil generator]. Unfortunately the gallery had run out of oil (another very timely issue) when i went there and the installation was turned off.

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Alicia Framis, Welcome to Guantanamo, 2008. Image courtesy of Galería Helga de Alvear, Madrid

Alicia Framis is presenting the first part of a wider project called Welcome to Guantánamo Museum. The installation documents the key elements that would form this hypothetical museum on the US detention centre in Cuba. Scale models, drawings, prototypes, floor plans and structures are exhibited together with an audio piece created with Enrique Vila Matas and Blixa Bargeld. The project echoes our society’s need to museify everything, think of Auschwitz and Alcatraz. Should we recoil at the idea of turning horror into a tourist attraction or should we decide that such museums are not a necessary evil, a way of ensuring that atrocities are not forgotten?

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Alicia Framis, Welcome to Guantanamo, 2008. Image courtesy of Galería Helga de Alvear, Madrid

The proposal for a Guantanamo Museum will include a selection of exhibition objects and merchandising that reflect the museum’s theme and motto — Things to forget. There will be a Le Corbusier chaise longue turned into an electric chair, a non-existent mailbox, shoes which contain inside their heels a system to allow prisoners to commit suicide, a series of orange clothing and objects designed by Framis together with students during workshops, furniture for the museum will be designed and built using the material of inmates’ cells, etc. At the same time a sound room will recall the names of all the caged prisoners in Guantanamo.

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James Casebere, Flooded cell #2, 2008

James Casebere made photos of what he calls Flooded Cells. These images conjure up allusions to prisons, claustrophobic and oppressive spaces somehow reminiscent of Piranesi‘s fictitious and distressing prisons (carceri) yet also referencing the method of torture by simulated drowning.

Extraordinary is part of the Off programme of PhotoEspana. You can see the show until July 19 at the Helga de Alvear gallery in Madrid. My images.

Related stories: Trevor Paglen’s talk at Transmediale, Interview with the Institute for Applied Autonomy, They make art not bioterrorism, Tracking the Torture Taxis.

The New Normal

It’s not everyday that Dick Cheney gives its title to an art exhibition.

In the weeks following September 11, the U.S. Vice President justified a steep increase of surveillance measures by explaining that “Many of the steps we have now been forced to take will become permanent in American life. They represent an understanding of the world as it is, and dangers we must guard against perhaps for decades to come. I think of it as the new normalcy.” Almost 7 years later, the collection and sharing of personal data by governments, luggage searches, Internet monitoring, and wiretaps have indeed become part of a “new normal” in American life.

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View of the exhibition space

The New Normal brings together thirteen artworks which explore private information. All the works have been developed after 2001, the year that ctrl[space] : Rhetorics of Surveillance, a major exhibition on privacy and surveillance opened at the ZKM center in Karlsruhe, Germany. It’s not a redux of the exhibition: new factors have changed the surveillance panorama since the ZKM exhibition opened. There’s President Bush signing the Patriot Act on October 26, 2001, the number and efficiency of technologies of surveillance have skyrocketed and we have come to accept the new state of “normality”.

The New Normal reveals how difficult it is to set clear boundaries around the concept of privacy. The private sphere encompasses domestic spaces, personal data, the content of your pocket, bodies, thoughts, communication, and behaviors–contexts that are usually rendered inaccessible to the public eye by legal, social, and physical boundaries.

What is most remarkable about the show is the subtle way it engages with the complex concept of privacy. The videos and installations do not hammer their messages on your head, you’re not told what to think and what to be very afraid about. Instead, the exhibition argues that today’s society is indeed living Cheney’s new normal life but this doesn’t meant that the new condition of public disclosure cannot be harnessed in the service of artistic endeavours and the creation of “tactics for political critique.”

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Videostill

Submitting oneself to security measures can be turned upside down by adopting what Hassan Elahi calls an “aggressive compliance”. Elahi daily points a mocking finger to absurd security measures with the real-time self-tracking website he set up in a bid to demonstrate to the FBI investigator that he’s not spending his time traveling to the Middle East and plotting some attack in the U.S. The models features in Sharif Waked‘s Chic Point Fashion for Israeli Checkpoints video seem to have adopted a similar strategy.

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Videostill

Sharif Waked’s video features male models catwalking in clothes designed to expose the flesh of body parts such as chests and abdomens. It would be hilarious and cheeky were the images not juxtaposed with stills taken from recent years displaying Palestinian men having to lift their shirts, take off their pants and kneel shirtless in order to be authorized to cross Israeli checkpoints. The absurd pieces of clothing evoke the bodily humiliation experienced by Palestinians at Israeli checkpoints.

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Six CIA Officers Wanted in Connection with the Abduction of Abu Omar from Milan, Italy. Courtesy the artist and Bellwether Gallery, New York

Equally politically-loaded is the series of badly photocopies of passports of CIA agents researched by Italian authorities in connection with the abduction of radical Egyptian cleric Abu Omar. On February 17, 2003, Abu Omar disappeared off the streets of Milan. The man had been kidnapped by the CIA, transferred to Cairo, where he was secluded, interrogated and allegedly tortured and abused. He was released 4 years later. The Imam Rapito (or “kidnapped Imam”) affair prompted a series of investigations in Italy.

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Twenty-six Americans were submitted to a trial in absentia along with several former Italian intelligence officials for their role in this case of extraordinary rendition. Trevor Paglen managed to get a copy of the photocopy of the fake passports that the agents had to deliver while they were checking in posh hotels in Italy in preparation for the kidnapping. The documents were released by Italian prosecutors in 2005. Although every element appearing on the identity document is fake, the picture had to be authentic. This ensured that the cover of the agents was blown and that the surveillance tools used by a government to achieve questionable goals can also become an instrument of justice.

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James Thomas Harbison (CIA Officer Wanted in Connection with the Abduction of Abu Omar from Milan, Italy). Courtesy the artist and Bellwether Gallery, New York

Relationships feed on bits of private information, it’s a currency we exchange with other people. Jill Magid‘s performance, photos and video Lincoln Ocean Victor Eddy not only illustrates this concept but it also put a human face on the surveillance we are submitted to every day.

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Jill Magid, His Shirt, Cropped (from Lincoln Ocean Victor Eddy), 2007. Courtesy Yvon Lambert Gallery, New York.

Back to New York City after five years spent in The Netherlands, Magid kept hearing this announcement in the subway “You may be a subject to searches “for security reasons”.” She approached a police officer and asked him to search her. He refused because only women officer had the right to search a woman but she managed to convince him to call her and tell her each night where he was on shift. She’d join him to be “trained” and kept record of the meetings in different forms: diary (read excerpts), photos, objects, etc. He would lend her his duty shirt, she’d give him a picture of her wearing it in return. She makes him tuna sandwiches, one day he allowed her to hold his gun. The relationship they build bit by bit is both intimate and somehow doomed: they are so different, the officer has never been to an art museum, Magid is “one of those liberals”.

Several works show that the intrusion into the private sphere is not just made of CCTV systems and biometric apparatus, it can also be voluntarily self-inflicted now that new online platforms called blogs, Facebook and image sharing call for self-disclosure.

As curator Michael Connor writes, Private information has never been less private.

The best example of this is probably the collection of videos that Guthrie Lonergan archived on you tube under the title MySpace Intro Playlist. Although they were made to be viewed by others, they convey an embarrassingly intimate echo once they have been decontextualized and exhibited in an art exhibition.

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Developed by Michael Frumin during the 2004 Campaign in the U.S., FundRace is back. The website maps donation made to the candidates of the Presidential Election in the U.S. and enables you to search by name or address to see who your friends, co-workers, and neighbors are supporting. You can also search by profession and discover who celebs and museum curators are donating to.

0addickcheney.jpgThe revelation of famous people’s private requests almost makes you say thank you for a society which is so obsessed by the mundane facets of celebrities. Jennifer and Kevin McCoy‘s contribution to the exhibition is part of a series of sculptural displays of the products that musicians contractually require to be present in their dressing rooms after a performance. That’s where the loop closes and we get to cross path with Dick Cheney again. Band Rider Series (Dick Cheney) gives a glimpse into the very lack of spectacularity of Vice President’s desires when he travels to a new venue to give a talk: all tv sets have to be turned on FOX news, the hotel restaurant menu must be in his room along with bottles of water, etc.

THE NEW NORMAL is a traveling exhibition co-organized by iCI (Independent Curators International), New York, and Artists Space, New York. It is on view at Artists Space until June 21, 2008.

Hasan Elahi at The Colbert Report:

Related: Sousveillance culture, Orwellian Projects, Book review – ctrl[space] : Rhetorics of Surveillance, Transmediale exhibition: Conspire, Trevor Paglen’s talk at Transmediale, etc.

Juan Freire – From the Analogue Commons to the New Hybrid Public Spaces

Back in November i was at Medialab Prado in Madrid to visit the Visualizar workshop and i had the pleasure to hear the talk that Juan Freire gave there. I was really looking forward to know better about the thoughts of someone whose keen observation on open knowledge, digital culture and everyware’d city i was following with interest for some time. Juan Freire is one of the very very few people who keep track of what is written in the field of ubiquitous computing, free software and technology but who would also hang around with media art curators and mingle with the hackers and the urbanists. And his everyday job doesn’t have much to do with all of the above. He has a PhD in Biology, he is Associate Professor and Coordinator research group at University of Corunna. As a leader of the research group in Marine Resources and Fisheries, he was involved in several R+D projects. He collaborates with businesses, public organizations and NGOs in topics related to sustainability and environmental management. He is CEO of Fismare, an environmental consulting firm. There’s more but i’m starting to be convinced that there are hyper-active clones of Freire all over Spain.

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Exterior of Medialab Prado

His blogs are in spanish: there’s Piel digital (Digital skin), nomada and Ciudades enredadas (Networked cities). And obviously his talk was in spanish as well but i found it so inspiring that i’ve dutifully spent a few hours translating it. I hope you will enjoy reading it as much as we all enjoyed listening to it in Madrid.

That November evening in Madrid, Juan Freire shared with us his thoughts about public space, whether it is obsolescent or necessary, what is the meaning of the expression in the 21st century, and what could happen should public space as we know it disappear.

The video of his presentation is online and in spanish, and so are the slides of Juan’s talk. But the excerpt of his talk is here (and in english).

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The issues he made us reflect upon that evening were:

1. What are the commons?, What is the pro-common?
2. Do public spaces suffer from a Tragedy of the Commons or from a Tragedy of the Anti-Commons?
3. Post-modern public space
4. Do public spaces still exist?
5. The hybrid public spaces of the net society
6. The future of hyperlocal networks
7. The hidden face of the hybrid public spaces.

Freire started with a tour of what the term Commons means today. The term sounds rather old-fashioned and probably most people wouldn’t feel comfortable defining it today. It’s something that comes right from Medieval Times but do the Commons still play a role in our life today? Is it limited to natural resources? Couldn’t internet be also part of the Commons? And digital knowledge? Public Spaces? What happens when we put side by side a series of elements which seem to be distinct but are getting increasingly connected such as internet, knowledge and public spaces? Juan Freire’s talk tried to explore some of those issues and bring a few answers.

What will the future bring? There are two scenarios, two alternatives of a possible future. Each of these scenarios will be more or less viable depending on many circumstances, one of them being the way we regard our role as citizens:

– we behave passively and accept the future as it comes.
– we decide that we can take an active role and grab the opportunity to participate to the shaping of our future.

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Photo WWF

Besides the Commons, exists another key concept: the Tragedy of the commons. The concept was born in the context of natural resources. Years ago, you could fish many big species in the sea. Today, we have to face an over-exploitation of the resources of sea. Many people have explained that the problem lays in the fact that these resources are for everyone to use. That’s the Tragedy of the Commons. The expression was coined by a biologist whose work had a big impact on sociologists and economists (while biologists have just started now to discover his thoughts).

0aagarethardin.jpgSome 40 years ago, Professor Garrett Hardin described the Tragedy of the commons using the hypothetical example of sheep in Scotland in the 19th century. Local herders share a pasture. The wool and meat from their sheep is selling well, they wish to increase their herd size and maximize their yield. More animals means more profit but each additional animal further degrades the pasture which is bad for all herders using the same pasture. However, the rational choice of an individual is selfish and stimulated by short-term gains, they won’t let themselves be worried by what is best for the whole herder community and their behaviour will eventually lead to the destruction of the resources on which they all depend.

The solution Hardin proposes to the drama of open access is to impose an external governing structure to manage the fields. What started with a few sheep in Scotland had a big impact on our vision of the world and on the way to manage the commons.

The story doesn’t stop there, the government having shown his lack of competence to manage the commons, the ideal solution would involve privatization of the Commons.

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Cement-lined canal and cross-flow system in the Chiregad irrigation system in Nepal (image)

Fortunately, some people saw the glitches in Hardin’s stark statements and they started to analyze other systems. The case study of a farmer-managed irrigation system in Nepal proves the unreliability of Hardin’s view. Farmer-constructed canal which seem rather simple and primitive were actually much more efficient that the ones built for efficiency with a greater expense of money by the Nepal government. The traditional ones irrigated more crops than the newly constructed, government-owned ones. The infrastructure was old-fashioned but they were better managed. The problem didn’t lay in the engineering but in the way the canals were managed. The new infrastructure that came with government ownership had the effect of destroying the traditional rules established over generations to manage common resources.

The Nepal example and many other have shown that the Commons can also be managed efficiently using methods which do not have to involve privatization or government-ownership of the resources.

An excess of regulations actually leads to another tragedy, the Tragedy of the Anticommons. The term was coined in 1998 by Michael Heller, a professor at Columbia Law School. In his papers Can Patents Deter Innovation? The Anticommons in Biomedical Research and Do Formal Intellectual Property Rights Hinder the Free Flow of Scientific Knowledge? An Empirical Test of the Anti-Commons Hypothesis, Heller argued that patents are an obstacle to innovation and sharing of knowledge in science. Biomedical research is one of the key areas where competing patent rights could prevent useful and affordable products from reaching the marketplace.

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Image BBC news

Heller also observed public spaces as his paper The Tragedy of the Anticommons: Property in the Transition from Marx to Markets demonstrates. His essay wonders why many storefronts in Moscow are empty, while street kiosks are full of goods? Heller observed that in post-Communism Moscow there were a lot of open air kiosks, but also a lot of empty stores. He concluded that in the transition from Marxism to capitalism, those commercial spaces had been over-regulated making it difficult for a startup retailer to successfully negotiate for the use of that space.

Lawrence Lessig mentioned and commented on Heller’s paper and even transfered the discussion about the commons from biomedicine and public space to internet and knowledge. The concepts of Commons and Anticommons are thus far from obsolete and internet has revived their relevance.

What happens to today’s public space? Do they suffer from a tragedy of the Commons or of the anticommons? Are we over-exploiting them or are they paralyzed by an excess of regulations? Have good old public spaces stopped to be useful and functional, do they still bring an added value to the life of citizens?

We often wonder why people attend a particular space rather than another one and how they use that space. Public spaces are often designed from top down with little attention on how citizens will eventually use them which will obviously lead to yet another example of the tragedy of the anticommons.

The first image Juan Freire used to illustrate his point was made by Nicolas Nova in Amsterdam. It shows a street that “defends itself” with elements that prevent people from using the street. This is a case of anticommons.

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Photo Nicolas Nova who has more images and thoughts

On the picture below, congested traffic in the streets of Bangkok. This looks like an example of the Tragedy of the Commons. The excessive use of a road that everyone is free to ride makes the road useless, annihilates the public space.

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Image source

The problem is that we haven’t progressed much since the 19th century, which is when an article published in the magazine of the Franklin Institute showed up. Titled On the Best Arrangement of City Streets, the publication(image) gave an example of excessive planning which forgets the role and needs of the citizen. A drawing and two pages of text describe a mathematical formula, an urban science, that ensures the “right” agency of the streets. Such magical formula can lead to an under-used public space. Unfortunately, on a certain number of aspects, we haven’t found a method that improves the 1877 drawing.

There’s another problem:

Can the ineffectiveness of the “analogical” public space, which we can also call the analogical procommon, be explained by privatization? Many people complain that public space is useful and well designed but because there is a Wal-mart or a Carrefour in the neighbourhoud, we desert public spaces and go to Carrefour (or Wall-mart). Freire believes that that vision needs to be nuanced. Such vision is the one of someone who looks for someone else to blame, does not assume any responsibility and does not even try to solve the problem.

Why is that so? Despite the fact that we live in a capitalist system, there are antagonistic concepts of capitalism but there are also models of capitalism which, although they are very antagonistic, coexist in the same space: the oligarchic model, the State model, the bureaucratic model. They don’t really follow the rules of the market. There’s a whole structure that prevents the market economy to function properly or that allows it to function only for a few entities.

But there is now another form of understanding the market and it’s brought to us by internet. “Markets are conversations.” The market here is seen as a deliberate form of aggregation of information, debate, decision making, deliberation between individuals. This is of course an ideal vision of how the market should function and it takes life when a series of barriers of access disappear or when a system enables information to flow freely and be accessed by everyone.

See Good Capitalism, Bad Capitalism, and the Economics of Growth and Prosperity, by William J. Baumol, Robert E. Litan, and Carl J. Schramm.

The solution is not only to eliminate “bad” capitalism but the alternative is “good” capitalism, the one that envisions market as a conversation. That’s where internet plays a key role, it eliminates those barriers and when it functions properly, it enables this idea of perfect markets with information that goes both way. This model is hypothetical but we are getting closer to it.

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The public spaces we inherited from the 19th century can be called modernist. They were designed from top down, by an elite that cared for the wellbeing of the citizens yet, they have failed under several points of view. Those public space have given way in the 20th century to what we can call the Post-Modernist Public Spaces (even if the expression is questionable). They emerge as an answer to the obsolescence of the previous ones. If people are not going to the public spaces anymore, new -and this time private- opportunities are created for them: the shopping malls, the perfect example of post-modernist public space.

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Las Vegas

Many people believe that cathedrals have been substituted by shopping malls. For many they are only simulacra of the city. The acme of this idea is Las Vegas. A project of creating a new Las Vegas in Los Monegros (Aragón, SP) could turn out to be an interesting experiment. The shopping mall is the mirror of the society of spectacle. Shopping malls are the new public spaces but not all evil comes from them: in many cases we use them because we don’t have alternative or because they represent the best alternative at our disposal. Private initiative, in some cases, has managed to provide us with what public spaces designed by the State have not offered us.

The next question is therefore: How can we take back those old public space and update them? What is left of them?

Berkley University urbanist Christopher Alexander has written: For centuries, the street provided city dwellers with usable public space right outside their houses. Now, in a number of subtle ways, the modern city has made streets which are for “going through,” not for “staying in.

0aanonspacess.jpgThe traditional public space, made of squares and streets, have become what anthropologist Marc Augé calls the “Non-Places”. Rem Koolhaas goes further by christening them as Junkspace. In the post-modern vision, we move from private space we have to pay for and, as they are often located outside city centers, we have to drive through junkspace, non-places, spaces which have no immediate utility. The problem in the scenario is that interaction seem to have vanished. Social networks have shrunk to our own family circle or to shopping malls. A huge part of social interaction is missing. Are we ready to loose it? If we translate the scenario to the internet we have to imagine an internet where we can only find a commercial space and all the rest will just be junkspace.

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Image by Tony de Marco

To put the finishing touch to the panorama we cannot leave aside the issue of publicity. The spaces between the private spaces we shop to, those junkspaces, are getting filled with advertisement. The vision about publicity is usually very critical and negative. When the Mayor of Sao Paulo in Brazil decided to eradicate any kind of advertisement in the city, his move has been welcome with not only wonder but also praise. Sao Paulo is the third city in the world. It counts almost 11 million inhabitants. Citizens, foreign observers, the press applauded the measure. Those who live from the revenues of publicity were less enthusiastic about it. But to which extent isn’t publicity part of our genome, of our ADN today? If you look at photos and videos of Sao Paulo without its billboards and advertising posters you get a slightly deshumanized vision. The structures that supported advertising are still there but they are empty, switched off. The buildings do not seem to be complete anymore. It seems that a crucial part of the city has been lost in the process. Maybe this effect is only transitory.

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Image Tony de Marco

The following question is:

To what extent can we say that publicity is not part of our public space? And of ourselves?

The answer is not clear of course.

Do public spaces still exist? Or are we left with only post-modernist spaces, connected between themselves by non-spaces or junkspaces?

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Image city of sound

Freire illustrated the point by making an exercise of inverse engineering. The case study is the APEC (Asia-Pacific Economic Cooperation) Summit which took place last year in Sydney. It shows clearly what remains of a city when access to all public spaces is prohibited. All the security measures were taken to ensure that the event, the most impressive gathering of Heads of State the city had ever witnessed, would unfold without any glitch. Two blogs such as Subtopia (Fenceland and Subverting “Military IKEA”) and City of Sound (The Anti-Fun Palace: APEC Fence, Sydney lockdown) documented and analyzed quite shrewdly what happened in a city where access to public space was negated to its inhabitants, where extreme measures of security bring a whole city to a standstill with, for example, a 5km fence surrounding the Opera House area and Google Earth/Maps images of the area (and others) being blanked out or blurred. Important zones of public use where most of the city life was usually concentrated were militarized, closed down or saw their access strictly restricted.

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Image city of sound

Streets, bike lanes, jogging tracks were closed, spaces where people would go to meet and chat were unaccessible. Fences had taken over the city. What is interesting is what you cannot see in the pictures collected by the bloggers: a way of living in the city being destroyed. When the public space and even the junkspace are eliminated from urban life, the city changes radically. Although we tend to be very critical of the way public space is deteriorating, is becoming useless, etc. reality is that public space is still a fundamental part of the city and not only as place of transit from one shopping mall to our house. By making this forced exercise of inverse engineering, we discover the value of places and things we have stopped to pay attention to.

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Image subtopia

What is a public space? It depends on the capacity of auto-organization but also on market and community management

Public space depends on the capacity of auto-organization that we have. We must see further the concept of public space designed by the government for the citizen. The space cannot really be public if it doesn’t come with a certain capacity of self-management. Public spaces are hybrid, they combine market with community processes. The Common is much more sophisticated than we might think.

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Image Google earth Burning Man

A fascinating exploration of public space is Burning Man. An outsider who attended the Fallas in Spain compared them with the Nevada-based festival. The former is organized by the State. Just after the party, the streets are filthy, there are traces of chaos all over the city. Burning Man instead is built and de-constructed by the community of participants without any top down supervision. After the party, the desert is left to its pristine state. No trash is left, the space is clean. The process is totally self-organized. The Burning Man community is able to create a public space which is not only dynamic but also ordered.

Burning Man is a public space that lives at the margins of Hardin’s theories.
Burning Man Time Lapse video

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Image polar inertia

Another example is Quartzsite (Arizona) which functioning and dynamics have been described in Kazys Varnelis and Robert Sumrell’s book Blue Monday: Stories of Absurd Realities and Natural Philosophies (i’ll join Juan Freire in his enthusiasm about the book, it’s a gem.)

Quartzsite is a desert town of some 3,000 people that every Winter swells to over a million residents (making it the 15th-largest city in the USA) as a horde of modern nomads descends upon it in their motorhome. With very little planning, they create a city which works perfectly, it has its own dynamics, its own market (unlike Burning Man, there is a money-based economy), exchanges of goods and services, etc. It is spontaneous, yet very efficient.

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Image polar inertia

As Freire added, this is not the future of our cities but, making once again some exercises in reverse engineering, there are a few lessons that can be learnt from the Quartzsite experience. People as a group have far more intelligence than most would suspect. Sumrell and Varnelis call it ‘swarm intelligence’ – a human version of the behaviour often seen in ant colonies and the like.

Juan Freire then illustrated how hybrid a public space can be by showing us the main square of his city, A Coruña (Spain)

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Public space functions quite well, it’s a very active area of the city. The secret to its success is the mix of private, community and public initiatives which take place on the Square. To be lively a square needs bars and there are plenty of bars here. There is also some space for people to self-organize and develop freely their own activities in a way that neither a bar nor a shopping mall can provide. The other requirement is some entity to think and design the whole experience and to create some urban furniture and other elements susceptible to foster all those activities.

Internet is the element missing from today’s equation. We cannot leave the internet aside anymore when we discuss public space. We live in a networked society. Many people say that we live both a physical life and a virtual life but Freire thinks that these two realities are getting more intertwined every day.

The networked society opens a new Commons. People don’t call it this way but the digital element is nevertheless essential. Internet was designed to be free and the knowledge that comes with it should be free as well. Although there is a huge amount of effort from above (copy right) to prevent knowledge from being free, it is nevertheless freeing itself.

We should see beyond the modernist vision of a traditional, well-planned public space. Today we are living a reality which is quite complex, hybrid and multi-faceted. Freire calls it an hyper-reality (in the “hyper-link” sense). Our public space today is hybrid in two ways:
– its environment is both physical and virtual,
– its management which is public, private and community-based at the same time.

Freire believes that we can achieve this hyper-reality through a re-appropriation of public space. 4 key elements will help us get there:

1. free knowledge,

2. free electro-magnetic space,

3. a post-spectacular architecture,

4. a digital skin layered over tarmac and concrete.

A few words about Free Knowledge, starting with a quote from Stephen Downes: The greatest non-technical issue is the mindset. We have to view information as a flow rather than as a thing. Online learning is a flow. It’s like electricity or water. It’s there, it’s available and it flows. It’s not stuff you collect….

Many people are horrified by the fact that knowledge flows continuously. They wouldn’t have any qualms about electricity flowing around us freely but they find the idea of a never stopping flow of information highly disturbing. They would like to be able to control it, to store it on the shelves of a library. But that’s a lost battle because information is going to increase more and more every day. An you know what? That’s a good thing. Especially if we manage to become curators of information. “We”, the users, not the so-called experts. We must become “digital chefs” and cook delicious dishes of information. The ingredients are out there on the web, the kitchen is packed with instruments which are free, or very cheap even when they come from some private or commercial initiative like Yahoo! or Google.

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Reclaim the Spectrum

The second element we need is what Jose Luis de Vicente calls the “free spectrum“, we need to reclaim the use of the electromagnetic space. We need these electromagnetic infrastructures, no matter how intangible they are. As JL de Vicente wrote: “The radio spectrum – the electromagnetic space through which radio and TV broadcasts, mobile phone and GPS signals and WiFi networks circulate – is the real estate of the information society.” We can’t guarantee the freedom of information if we can’t control the structure that gives us access to it.

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Reina Sofia Museum Extension, Madrid. Photo: Philippe Ruault (via arkhitekton)

Thirdly, we need those architects whom Freire calls the “post-spectacular architects”. Sure, we like the architects of the “spectacular”, we like Frank Gehry’s Guggenheim, Moneo’s addition to the Prado, Jean Nouvel’s extension of the Reina Sofia, etc. But these spaces have not been designed for physical nor digital interaction. We need architects who think from the perspective of the people who will “use” the spaces, not just the tourists. But how should we design with a perspective of participation? The focus should be less on the aesthetics and more on the efficiency and on the functionality (what are we building for?) These ideas won’t lead to an anti-aesthetics but to a new form of aesthetics. This aesthetics will not only be better suited to our requirements but it will also start adopting something of the open source philosophy, by sharing designs, methods, etc.

Besides, this architecture will be cheaper and faster. The main problem is that cities change very slowly. We live in the same Madrid as centuries ago, even if society is not the same as centuries ago. Physical changes are way slower than intangible changes. We’ll never manage to keep pace with society’s changes but we can do something about it.

Freire gave a few examples of the kind of projects that he would like to see bloom over the cities, adding that some of them start to get out of the “workshops ghetto” and appear in glossy magazines:

Ecoboulevard of Vallecas near Madrid, designed by [ecosistema urbano]. Fast architecture that solves several problems while proposing an innovative and appealing aesthetics.

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Ecoboulevard

Santiago Cirugeda‘s Recetas Urbanas (Urban Prescriptions). Cirugeda hacks the legal code. Because his home town would not authorize him to build a playground, Santiago Cirugeda obtained a dumpster permit and installed a playground that looked like a dumpster. He also built and occupied a rooftop crane that passersby believed was there only to move building materials. There used to be a video on you tube where the architect used Playmobil toys to demonstrate how to build a temporary flat in your rooftop. The solutions Cirugeda proposes are cheap, fast, accessible to everyone and the key ingredient is to find out the gaps in administrative structure and official procedures, to intervene where the law falls short.

Is Cirugeda doing art, architecture or activism? Probably the three of them but does it really matter?

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Inside Cirugeda’s insect house

Vicente Guallart whose work is more often found in museums than in the streets, probably because his vision is still too futuristic. His Sociopolis project is a neighbourhood designed with a mind set on efficiency, functionality, digital networks,

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Sociopolis

– Jose Perez de Lama, a member of the Sevilla-based collective hackitectura, believes that we need to build layers of digital information over physical spaces. Architecture, in its traditional definition, is relevant but not central. The space is built using mostly intangible elements: electronic flux, interfaces, audio, projections, words, bodies, landscapes, etc. We need to combine the tectonic with the electronic.

Hackitectura has illustrated their concepts with a series of interventions in public space. The most famous of which being the wikiplaza project in Sevilla which regards public space as multi-layered: there are bars, grass, cements and tarmac but there’s also the digital space.

Finally a bit of futuristic speculation. Future is in the hyperlocal networks. Paradoxically, internet has allowed us to be globally connected but it doesn’t help us enough when we want to be connected with what is in our own neighbourhood. That’s mobile telephony that we use (intensely) for local connections. The development of hyperlocal networks is a big opportunity, a double opportunity: both from the commercial and the citizen point of view.

Last July, Bruce Sterling wrote an inspiring article, Dispatches From the Hyperlocal Future. A protagonist narrates his life in 2017 and how he moves in those hyperlocal networks.

In the 20th century appeared the Situationists. Among their ideas was the Dérive, an invitation to use the city in a new way. The Situationists failed in their attempt to radically change the world but they manage to predict what the future would bring. We use more and more the city like they said we ought to. This concept of the city as a space for exploration is getting more and more appealing.

The hyperlocal networks are made of elements which are already existing around us but they still have to be connected one to another. However, every day new initiatives appear that tell us that the situation is about to change. Here’s a rapid list of projects which Freire find as thought-provoking as inspiring. They might seem to be disconnected but if you put them together in a broader picture, you’ll see glimpses of a new reality emerge.

– hyperlinks with physical space, like google maps.

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Aram Bartholl‘s project The Map

– the concept of ubiquitous computing which highlight the upcoming urbanism 2.0, cf. Adam Greenfield‘s essay Everyware.

– mobile internet, ubiquitous connectivity (ex. urban tapestries).

– the internet of things, of objects, what Bruce Sterling defined Spimes back in 2004. More in his book Shaping Things.

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Image Bruce Sterling

– new initiatives like Semapedia to hyperlink the whole world.

– new possibilities to visualize people and the flux of information in urban space. One of the most famous example is Real Time Rome, the MIT SENSEable City Lab‘s contribution to the 2006 Venice Architecture Biennale.

– collaborative cartography. Geographical information is still private and is often submitted to copyrights. People can view the database but they are not allowed to take the data and use them as they wish. Fortunately some initiative are attempting to put an end to the geo-monopoly. E.g. the open and collaborative OpenStreetMap.

– the mash-ups which use google tools to propose more personal visions of space. Besides, these mashups enable users to monitor what is happening in physical space right here and right now (to track fires in California for example).

All these initiatives demonstrates that we have the opportunity to layer a digital skin over the city. The skin is not just a fad, it will make the urban experience more meaningful and useful. E.g. Urban Tapestries, a research project born in 2003, Dodgeball, Outside.in which aggregates, tags and structures local information available online, using thus individual activities to build instruments useful for everyone.

0aagerogeorwelbar.jpgG. Orwell place, Barcelona

Freire, being the astute and realistic observer he is, also pointed out the darker face of public spaces by quoting Stephen Graham who wrote in Subtopia:

The real architectures of control already are algorithms, software, databases and microelectronic tracking systems, satellites and sensors, linked intimately to physical spaces, infrastructures and bodies, rather than the obvious architectonic brute force of walls and ramparts.

The future might be of the Orwellian type or it can be the one that Freire described in his presentation. It’s in the hands of citizens and whether they will adopt an active or passive role. Today we have the opportunity not only to protest but also to take things in our hands and push changes.

However, there’s another danger: the one created by people who do not understand internet. German philosopher and sociologist Juergen Habermas wrote that … in the context of liberal regimes, the rise of millions of fragmented chat room across the world tend instead to lead to the fragmentation of large but politically focused mass audiences into a huge number of isolated issue publics.

Freire believes that instead of just creating fragmentation, internet enable us to go beyond fragmentations.

Facebook, for example, counts many advantages but also many downsides. It’s a network you can close and keep for your friends exclusively

LifeAt creates private online communities for residential properties. It’s closed and “secure” with control over who has the right to use it and what can be published or not. There’s an absolute control over people and content. The model can be interesting for commercial companies or for facebook but in the context of public space, it would do more harm than good, it would mean applying post-modern concepts to new hybrid space.

As a conclusion, Freire quoted an article that urbanist José María Ezquiaga wrote for national newspaper El Pais. He adopted the Mai 68 moto “Sous les pavés la plage” (Under the cobblestones lies the beach) to tell us that we have to see beyond the ugliness of cobblestones and uncover the beaches that exist beneath them. Freire added, this time quoting Jose Pérez de Lama, that above the tarmac there is a digital layer. Although that layer is neither tangible nor visible, it set to fulfill a crucial role. If we use this additional layer intelligently and openly, then the future might indeed be appealing.

The Q&A which followed was almost as fascinating as the presentation itself but i’m done with the translation.

Book Review – An Atlas of Radical Cartography

An Atlas of Radical Cartography, edited by artists Lize Mogel and Alexis Bhagat (Amazon USA and UK)

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The editors say: An Atlas of Radical Cartography is a collection of 10 maps and 10 essays about social issues from globalization to garbage; surveillance to extraordinary rendition; statelessness to visibility; deportation to migration. The map is inherently political– and the contributions to this book wear their politics on their sleeves.

An Atlas of Radical Cartography provides a critical foundation for an area of work that bridges art/design, cartography/geography, and activism. The maps and essays in this book provoke new understandings of networks and representations of power and its effects on people and places. These new perceptions of the world are the prerequisites of social change.

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New York City Garbage Machine, by the Center for Urban Pedagogy

The slipcase contains a set of ten maps and a collection of essays by artists, architects, designers, and writers who illuminate the maps and explore their role as political agent. An Atlas is one of the most intelligent, thought-provoking and original publications i’ve read in a long long time.

First there is a purely aesthetic pleasure of unfolding the maps and discovering the careful, unique and innovative design of each one.

Then the essays are engrossing. They are written by people who have a story to tell you, they are passionate about it, they are angry or worried by the current state of affair but they are also smart enough to know that the best way to solve a problem is to adopt a pro-active attitude.

Right from the cover, showing an “upside-down”map, we are faced with the fact that even the most banal and innocent-looking map has its own agenda, that it is extremely difficult to separate cartography from politics and ideology. Far from being neutral accessories which would merely help you go from point A to point B, maps are often used as instruments for controlling and shaping beliefs. Conversely, maps can also be at the service of protest and social change. That’s what the contributors of the Atlas demonstrate. Deliberately, openly and quite convincingly.

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Unnayan | Chetla Lock Gate, Marginal Land Settlement in Calcutta, 1984 (detail)

The first map transports you a few decades ago in Calcutta (now Kolkata). Formed in the mid-late 70s, Unnayan was a civil activist groups which campaigned on dwelling, health, labour, schooling and various rights-related issues met by communities in urban and rural areas of eastern India. Unnayan was involved in projects that including preparing maps that identified settlements which existed in Calcutta at the time but were blanked out in officila maps. Elaborated in collaboration with the communities, the maps helped them locate water pumps, roads, but it also made these communities visible on a space which official maps would otherwise define as “vacant land.” The vast majority of these maps are destroyed by floods or stolen. Jai Sen, a member of Unnayan, reconstructs fragments of these experiments and puts them on record in Other Worlds, Other Maps: Mapping the Unintended City, his contribution for An Atlas of Radical Cartography.

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Institute for Applied Autonomy, iSee

All the other maps are contemporary.

The Institute for Applied Autonomy discusses tactical cartography and how locative media technology can be used by activists as cold and precise weapons to foster critical social engagement. They illustrate the concept by detailing their project iSee, a web-based application developed in collaboration with NYCLU and the Surveillance Camera Players to chart the locations of CCTV cameras in Manhattan. By checking iSee, users can find routes that avoid these cameras (“paths of least surveillance”) allowing them to walk around their cities without fear of being “caught on tape” by unregulated security monitors. Their essay explains how stories about the iSee application spread all over the media and generated a series of discussions and debates amongst a -so far- unsuspecting audience. The work also extended to camera-mapping workshops which assumed the double role of rendering the proliferation of surveillance cameras tangible to a general audience and creating an empirical basis for challenging policing and public safety policy.

Visible Collective/Naeem Mohaimen interviews Trevor Paglen about his investigation into extraordinary rendition flights, the tension between art and activism as exemplified by a look at Mark Lombardi‘s drawings and Ashley Hunt‘s maps, the reasons why cartography shouldn’t be confused with geography, etc.

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Olivier Clochard and Philippe Rekacewicz, Death at Europe frontiers

I found An Architektur‘s contribution to the book illuminating. Because of what i read in the media and because of the intense pleasure i experience when i am treated like a delinquent by the “immigration” officers each time my plane land in the U.S., i often have this vision that the U.S. is the evil one in the quest of security and border control. An Architektur, a collective that applies sociopolitical questions to space and architecture, proves me wrong by exposing the European Union’s efforts to tighten its borders against asylum seekers and people looking for a better life. Hence, the need to close hermetically the access to EU and to park inside a migration camp anyone managing to jump above the wired fences. An Architektur points to several maps which illustrate the issue such as Migreurop‘ s From European Migration and Asylum Policies. to Camps for Foreigners map (PDF), – Hackitectura‘s map that rethinks the frontier between Morocco and Spain, replacing the concept of border as space of separation with site of connection and reciprocal flow, etc. A striking example is the article and map called Death at Europe frontiers where Olivier Clochard and Philippe Rekacewicz document the death occurred while trying to reach the territory of the European Union. Only documented death are taken into account but their number goes way beyond the 7 000 between 1993 and 2006 (3 000 from December 2003 to 2006). The map shows that danger doesn’t stop when the border is crossed. Once inside the EU, migrants have to face racist attacks, unsafe working conditions for the illegals, police repression, internment camps, etc.

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Pedro Lasch, Guías de Ruta / Route Guides, 2003/2006,

These were just a few lines about 4 of the maps and essays you’ll find in An Atlas of Radical Cartography. There’s also Pedro Lasch’s beautifully symbolic map of the America/Latin America relationships, Lize Mogel’s politically heavy re-lecture of the map of the San Francisco Bay Area, Jane Tsong’s children science textbook-style drawings which reveal what it takes to be able to turn on the tap in her bathroom, the Center for Urban Pedagogy’s well-documented New York City Garbage Machine describes the fight for power over the bins, Brooke Singer’s The US Oil Fix demonstrates the impact that the US addiction to fossil fuels has on the rest of the world and Ashley Hunt’s A World Map tackles the world capitalist system.

An Atlas takes also the form of a touring exhibition which is making a stop over unitl May 6, 2008 at Dowd Fine Art Gallery, SUNY Cortland, NY.

Related: Resistant Maps (part 1) – Introduction, Resistant Maps (part 2) – GuerrigliaMarketing.

State Assemblyman Armed With Slingshot Aims At Tech Giants

A trade group representing several large Internet companies sent a letter detailing “strong opposition” to a New York state bill that would limit the companies’ ability to collect information for targeted advertising.

“[The bill] is unnecessary, most likely unconstitutional, and would have profound implications for the future of Internet advertising and the availability of free content on the Internet,” wrote Jim Halpert, general counsel for the industry group, in a letter to Assemblyman Richard Brodsky, the Westchester County Democrat sponsoring the bill.

Mr. Brodsky dismissed the letter. “These guys want the unadulterated right to invade the privacy of the citizens of this state and we’re not going to let them do that,” he said. “This is why we have governments, not just corporations.”

By “these guys” Brodsky means yahoo, Google, AOL, Comcast, eBay, Electronic Data Systems, Facebook, Monster Worldwide and Reed Elsevier NV.

[via The Wall Street Journal]

ZEMOS98: Lisa Parks on Satellite Secrets: Between Spying and Dreaming

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Back from the 10th edition of ZEMOS98, a festival of audiovisual culture titled this year Regreso al futuro, Back to the Future. I wish all the events i attend were as intelligently curated, carefully organized and stimulating as this one. The audience was great too. And extremely polite: they sat all the way through the talk i gave there in a spanish bastardized with franco-italian words and grammar.

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Image from the workshop Control Sonoro

There were workshops, concerts, presentations, screenings and talks. One of the highlights of the week for me was Lisa Parks‘ talk. Her lecture was part of Critical Powers which invited thinkers and creators to share their views on the possible functions of utopia in an era of advanced Capitalism, the effects of technology changes on cultural process, or on the power of a public sphere.

Lisa Parks, Ph.D., is Associate Professor of Film and Media Studies at UC Santa Barbara. She is the author of Cultures in Orbit: Satellites and the Televisual and co-editor of Planet TV: A Global Television Reader. Her research explores uses of satellite, computer and television technologies in a transnational context.

ZEMOS98 put a tiny extract of the presentation online:

And i’ll add my notes:

Introduction

The lecture was articulated around two themes (Spying and Dreaming) and was a small compendium of the many topics she has been working on over the past few years, most of the material she presented is based on case studies but for lack of time she merely glossed over them.

Her first slide showed us a list of satellites that Spain has ownership on. Most are used for remote sensing. The first one (intersat) was launched in 1974, the latest DEIMOS in 2008 which will be used for disaster management. Parks stressed the importance of developing more literacy about satellites. We can name tv channels and websites by wouldn’t be able to name satellites. Throughout history, hundreds of satellites have been launched into space.

Another of her key interests is the visualization of satellites. We can have an everyday tactile contact with other technologies like mobile phones or television sets but our experience of satellites is very different. Right from the start as satellites are a highly specialized technology. They have to be constructed in clean room, protected from the rest of the world and they are launched in locations which are often closed off for security purpose. Once they are sent into orbit, most of us will never think about them again.

Parks then talked about the footprint of satellites. No matter how clearly defined the boundaries of nations can be, their space will always be crisscrossed by footprints from different satellites launched by various countries. Spain uses satellite technology to beam its signal to Latin America for example. That’s what she calls “Nation Beaming”.

Spying

1. The Corona Project

The Corona Project was a top secret program run by the CIA with the help of the US Air Force. One of them was hidden in Discoverer Spacecraft which contained biological experiments (to check how plants would withstand being launched into orbit). The project was top secret and involved a huge capital investment that the public financed without ever knowing about it.

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Corona film recovery diagram

Of the 144 Corona satellites launched, 102 returned usable images.
The Corona satellites secretly monitored and gathered a huge amount of satellite data about USSR, Eastern Europe and Asia from 1960 until 1972.
The program was declassified by President Clinton in 1995 and he made the images collected available to the public.

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Catch of a Corona capsule off of Hawaii (image)

The recovery of the images taken by Corona was quite remarkable. A mechanism would drop the film canister and drop it in the air. The canister would then be recovered in mid-air by a C-119 aircraft. If the recovery mission failed, the canister would deploy a parachute and be recovered on earth or on the ocean.

The Corona program was initiated during the Cold War to check if “the other” was developing new weapons. The satellites were thus used to develop an image intelligence which would help the government decide on their own internal and external policy.

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Corona launch preparation shed in ruins (image)

The Corona facility are now in decay.

2. Satellite imaging and global conflicts

It’s also important to discuss the relationship between orbit and earth in the age of image intelligence and see how remote sensing get integrated into news culture, how and when classified images suddenly make their way into our global media culture. More precisely the questions her research is focusing on are:

How have satellite images been used to represent global conflicts in the public sphere?
Where does the authority to use and interpret satellite images come from?
What kinds of phenomena and events do satellite images represent?
Have satellite images increased public awareness and knowledge about global conflict?
How have practice and meaning of “intervention” changed in the digital age?

First case study: Rwanda

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James Nachtwey, Survivor of Hutu death camp, Rwanda, 1994

Refugees International used aerial and sat images in 1996 to try to find and assist 1 million displaced persons. The combination of sat/aerial images was used as a medium that could uniquely visualize a “nationless social body”. The organization understood how these images could capture better than any other medium the displacement of a moving mass of people who have nowhere to go.

Many satellite images have to be inscribed with caption, without them the images lose their significance, they look like abstract paintings. We need to be directed to read these images.

Pressured US to release sat images to draw world attention to a conflict that was being ignored by the international community.

Second case study: Bosnia, July 1995

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Satellite photo of Nova Kasaba mass graves.

US was boasting to have real time visibility over the war theatre – Information Dominance
Srebrenica is US-protected, highly monitored and as such regarded as a “Safe Haven”.
US State Department released sat images of alleged mass graves in Srebrenica 6 weeks after the massacre occurred.
Sat evidence of atrocities released after the fact, rather than during the act. The US State department claimed that the problem was that volume of sat data was to plentiful.

Case study 3. Colin Powell and Irak, 2003

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Slide 12 of Powell’s address

Powell presented sat images in his address to the UN Security Council to make the case for a US-led war against Irak, alleging they contained “undeniable proof” of Iraqi development of weapons of mass destruction.

From Lisa Parks vantage point the case raises a real problem as Powell not only plagiarized a PhD thesis but, more crucially, the whole story undermined the credibility of any future use of sat images by US official in a global forum.

Satellite images are digital images and have thus no physical reference, they are generated by a series of 0 and 1. Yet they are useful. One shouldn’t embrace them as state truth but as a field of investigation. The 3 case studies highlight how much has changed in the US after the Corona programme.

Institutional Changes

The privatization sector is led by European companies:
1983 SPOT (Satellite Pour l’Observation de la Terre) begins selling sat images – 10 m resolution, meaning that an object 10 m long can be visible from space.
1987 Soviet company Soyuzkarta joins the game. They charge $500 to $800 for images of 5 m resolution, a price affordable for States or corporations.
1994 Clinton administration privatizes remote sensing in the US. The technology can no longer be used solely by CIA and the scientific but can be tuned into a profi-making industry.
The privatization of remote sensing occurs throughout the ’80s and ’90s.
In the 1990s Earthwatch and Space Imaging emerge and sell images of 1 m resolution.

Today the website of Satellite Imaging Corporation claims that they are the largest because they are the one who possess most satellite assets. They own a fleet of satellite, one of them moves makes a complete turn of the Earth in 90 minutes.

The commercialization of sat images has led to some odd uses and requests.

In 2001, Dan Bollinger, a fan of the tv program Survivor: Africa, sent a request to Space Imaging to acquire the image data over the Kenya location and share them with other fans of the show. The CBS facilities were discovered but the tv channel didn’t want to see their production site exposed.

The images nevertheless traveled all over the world showing that satellite images are no longer a matter of security issue but are part of a broader visual culture.

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Another case which illustrates the previous statement come from a campaign by KFC. The fried chicken company needed to re-design the brand and came up with the “Face from Space” in the Nevada desert, also known as the “UFO Capital of the World.” The fast food company purchased an Ikonos image of the site and distributed it through global media circuits.

While satellites have historically passed over the earth to observe “naturally unfolding” phenomena, now events are staged precisely so they can be viewed from an orbital perspective. Remote sensing satellites are now being used to pitch products and address global consumers just as other media such as commercial television or the world wide web. More in this article by Lisa Parks: Obscure Objects of Media Studies: Echo, Hotbird and Ikonos.

Google Earth

Since 2005, Google Earth presents us with a “mosaic’ed” version of the world using satellite images coming from various sources. But while the logo of Google is always clearly visible on the images, no matter how blurry they are themselves, we are kept in the dark regarding the satellites used to compose these images. Google Earth is a great opportunity to educate the public about satellite but instead they do GE tends to almost erase the existence of the satellites.

Digital Globe provides date information for satellite images that are part of Google Earth using color-coded squares and “I” icons. By clicking on “preview,” you enter a meta-browser featuring the single satellite image captioned with information about how to purchase it or others from Digital Globe. Digital Globe is thus providing date information as part of a marketing strategy. GE becomes a billboard.

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(image)

Google Earth teamed up with the United States Holocaust Memorial Museum to create the Crisis in Darfur mapping initiative which collects and diffuses visual evidence of the destruction in Darfur.

On the surface it looks like an admirable project but in several ways it missed the opportunity to represent the conflict in all its complexities. It uses tropes to represent African tragedy (images of suffering children carried by their mother). There is no visible effort of providing a political and economical education about the tragedy.

With the slide i pasted below, Lisa Park claims to demonstrate that earlier media news provided more opportunities for education:

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Problems of GE Crisis in Darfur layer:
– obscure satellite imagery,
– represents the “past perfect”, because it show what we monitored from space but didn’t do anything about at the time,
– involves the branding of global conflicts (no matter how blurry the image, the Google brand is always conspicuous),
– exemplifies neoliberalism (David Harvey) and disaster capitalism (Naomi Klein),
– from CNN effect to Google Earth effect? In order to get world attention will an event have to appear on Google Earth?

What does it mean for a US corporation to reproduce foreign territory as they want and without asking permission (some nations actually complained that GE causes a serious security concern.)

In a nutshell:

The public remains relatively uninformed about satellites, their uses and their impact on everyday life even though citizens taxes subsidize satellite developments.

The second part of Lisa Parks was about The Dreamers, the artists who use and comment on satellite technology. I found this part a bit weaker (less documented and with errors in the orthography of the artists’ names, happens to everyone of course but look quite bad on slides.) But here are a few notes:

“The Dreamers” encourage us to see and reflect about sat technologies and their potentials. they dare to experiment with satellites (traditionally seen as a heavy and highly specialized technology) and how they are used. Encourage us to think about who owns and control, satellites, orbital space and the spectrum. Develop uses that are not just about state security or corporate profits but about citizens’ needs.

Artists acknowledged in her presentation about satellite art and activism:
Kit Galloway and Sherri Rabinowitz,
Douglas Davis,
Brian Springer,
Marko Peljhan,
Trevor Paglen,
and a special and enthusiastic mention of Aram Bartholl.

Last recommendations from Parks:

Investigate satellites, learn their names, who owns them, what they do, how they have been used. There is a need for more satellite literacy.

Contest the militaristic and corporate appropriation of satellites with more art, activism, dreaming and experimentation.

Imagine how the use of satellite in the public interest might be defined.

Image on the homepage showing Laika, a dog launched in orbit together with the satellite Sputnik II in 1957.

Data Is The New Gold And People Will Do Anything For It

Let’s pick up one of Danny G.’s favorite topics this morning—privacy, or violations thereof.

According to The New York Times, a data miner called Phorm, has created a tool that can track every single online action of a given consumer, based on data from that person’s Internet service provider.

Phorm is right now trying to negotiate deals with telephone and cable companies, like AT&T, Verizon and Comcast, that provide broadband service to millions. Phorm’s pitch to these companies is that its software can give them a new stream of revenue from advertising.

Is it hard to imagine a day when people stop using the net due to these hideous invasions? Or is that notion insane, and these concerns the tiny province of civil libertarians?