Helen Pynor, Head Ache (detail), from red sea blue water series, 2008

Today i'm talking with Helen Pynor. You might have seen one of Helen's most striking photos in bookshops and on the tube last year, it showed a brain in all its organic glory and was on the book cover and on the posters advertising the exhibition Brains: The mind as matter, which opened last Spring at the Wellcome Collection in London.

Helen Pynor has a background in science but later studied visual art. Three years ago she also became a doctor of philosophy. Her practice combines biological science and visual expression to explore the inside of our bodies, and to investigate the relationship between the physicality of the human body and its culturally constructed status.

During the show we will be talking about how she managed to get her hands on a fresh human brain but Helen will also discuss some of her broader projects such as The Body Is A Big Place, a large-scale installation that explores organ transplantation and the thresholds between life and death.

Peta Clancy and Helen Pynor (sound by Gail Priest), The Body is a Big Place

I closed my report of the exhibition The Air Itself is One Vast Library on the promise that i'd come back to my last visit to Brighton with a few words about the crime scene-style outline of a drone that James Bridle painted on the city seafront.

Under the Shadow of the Drone, commissioned by The Lighthouse, is a one-to-one representation of one of the military drones piloted remotely to strike targets in distant areas of the world. The aerial attacks they conduct leave hundreds of people dead, many of them innocent civilians.

The controversy surrounding unmanned aerial vehicles has been recently intensified in the UK with the news that pilots at Waddington (Lincolnshire) are now working in relay with the military in the US to remotely operate American Reaper drones in Afghanistan.

For Bridle, what matters is not so much the drone in itself but the 'black box' side of contemporary warfare technology. "I have a political interest in drones as well, but beyond that, they stand for all aspects of these invisible technologies that have a great effect on the world but are kind of largely hidden from view," he told the Creatorsproject.

Installing Under the Shadow of the Drone by James Bridle. Photo by Roberta Mataityte

Installing Under the Shadow of the Drone by James Bridle. Photo by Roberta Mataityte

We might read about drones, get horrified by the way they monitor, gather intelligence, destroy and kill but we still cannot fully understand them, simply because we don't see them properly, even people who are directly affected by them hardly ever get a chance to see UAVs. Under the Shadow of the Drone suddenly brings drones into our daily life.

I had intended to write down the notes i took during a talk that James Bridle gave last month in Brussels for The Digital Now series of events but The Lighthouse has recently uploaded on youtube a similar talk that the designer gave to the Brighton audience. I highly recommend it. It is both entertaining and chilling. Bridle explains in detail his research into drones and more generally his investigation into the way we perceive and understand technology. He analyzes how the most reproduced 'photo' of a Reaper drone is actually a photoshopped image that first emerged in a forum for 3D modeling hobbyists, he discusses the Disposition Matrix and the escalating assassination program which tracks and kills suspects militant terrorists in other part of the world, etc. He also illustrates his research by explaining briefly some of his own projects such as Dronestagram: A Drone's Eye View which collects images of locations of drone attacks along with a description of the carnage they incur and A Quiet Disposition, a software system that is constantly scanning the web for news reports on Disposition Matrix and drones and finding links between them.

James Bridle - Meet The Artist presentation on 9 May at The Lighthouse in Brighton

This much shorter video brings the spotlight on Under the Shadow of the Drone:

The most reproduced image of a drone firing a missile is actually the work of a 3D modelling hobbyist

Protesters hold up a burning mock drone aircraft during a rally against drone attacks in Pakistan (Credit: Reuters/K. Pervez)

Image

Under the Shadow of the Drone by James Bridle, Brighton seafront. Photo by Roberta Mataityte

Installing Under the Shadow of the Drone by James Bridle. Photo by Roberta Mataityte

Installing Under the Shadow of the Drone by James Bridle. Photo by Roberta Mataityte

Under the Shadow of the Drone remains on view on the Brighton seafront, five minutes' walk east from the Brighton Wheel (do stop by The Lighthouse, they'll hand you a map with the location of the shadow) until May 26, 2013. The work was produced by Lighthouse and Brighton Festival.

Previously: The Digital Now - 'Drones / Birds: Princes of Ubiquity', The Air Itself is One Vast Library.

The video installation relies on an automated system that downloads continually the most popular torrents. The intercepted data is immediately projected onto a screen before being discarded.

The flows appearing on the screens constitute a sort of 'surveillance' of the peers as fragments of the files that they are exchanging can be visualized during the transmission or the reception. The remote users are, unknowingly, composing an endless collage determined by what they chose to download.

The work was devised by Nicolas Maigret and developed with the help of Brendan Howell. I caught up with Nicolas while he was putting the finishing touches to the installation.

Hi Nicolas! The description of the work says "In the context of omnipresent telecommunications surveillance, "The Pirate Cinema" makes visible the invisible activity and geography of the peer to peer sharing network." 
Could you explain with more details?

The geographical aspect of the project is key in activating the imagination, but also in developing a critical view of consumption areas by file. A text indicating both the geographical origin of the peer who issued this fragment, and the geographical destination of the peer who received it is overlaid on each video excerpt.

When the system focuses on a single file, we obtain a kind of portrait of the file through its geographic distribution. We could almost speak of following the geographical spreading of "cultural" products. Or in the case of a TV series like "Homeland", we could speak of following the diffusion of ideological propaganda.

For an exhibition like this one, which is based on the most traded torrents, the vision is voluntarily an ultra-reducing one, it is a form of "greatest common denominator" of media on a world scale. We can, in some ways, navigate through what is consumed at a particular moment.

Are images appearing randomly? How does the system work?

This version monitors exchanges of The Pirate Bay's top 100. Each computer selects a few torrents from this list and monitors them for a minute, before switching to new file.

To present the project clearly, I often talk about the context, the imaginary and the functioning of the P2P architecture.

In the '80s, VHS brought cinema into the living room. Today, P2P and Internet bring it into personal computers and mobile phones. Through these modes of distribution, a wide-ranging reflection opens up about the media, the medium and what it specifically vehicles.

The P2P sharing protocol is based on the fragmentation of the files in small samples, it is an exchange unit. This fragmentation loosens the exchanges to different recipients. A file can then be recomposed sample by sample until it is complete, from snippets emanating from separate users and in a disorderly manner.

From a cinematic perspective this preliminary fragmentation of the media is also a fragmentation of the film material and of the narration. These "broadcasting mechanics" come with specific formal opportunities: mashup cinema, random editing, weaving together different films frame by frame, glitches and merging of different fragments.

This installation suggests a way to perceive the digital filmic medium as a stream, or rather as streams distributed on a global scale. In other words, The Pirate Cinema intends to re-explore films through the logic of cables, which is unique to each connection and location.

Since you're French, i can't help asking you about the French legislation, they have the reputation of being pretty intolerant towards P2P culture...

In France since 2004, the year of the first conviction for illegal download, P2P has been systematically associated with piracy. Many legal devices were then invented (such as Hadopi and Loppsi), that led to a massive criminalization of internet users, a legitimation of the monitoring processes carried out by some states (DPI), and the setting up by providers of systems to filter and block access to Internet.

I've just opened a twitter account to aggregate the news related to this issue.

Is this something that you and Brendan Howell (who is from the U.S. if i'm correct) kept in mind while working on the project?

We saw it as a kind of game. Ever since the beginning of the project, we anticipated the operating modes of the system so that we could be presentable regardless of the different ongoing pieces of legislation. For example, an encrypted connection to Sweden (Ipredator / the Pirate Bay) is used to anonymize each machine used in the project. Fragments of the files are encoded and remain on our machine only temporarily.

Didn't you fear that you might get into trouble?

We thought about it, we were particularly concerned about the exhibition spaces, but the legal aspects are very schizophrenic. It is obvious that the peer-to-peer structures have positive cultural impacts and also often positive social ones. The same questions were asked with the arrival of photocopiers, audio cassettes, VHS, etc.. The main stumbling blocks remain the obsolete structures of film and music production.

Several studies have demonstrated that the biggest downloaders are also among those who spend the most on culture (cinema, concerts, dvd, etc.), the company that produces the torrent download software Vuze is also boasting similar survey conclusions.

Teachers will find on torrents content for their classes that their local libraries can't provide. Recently, a list of the files downloaded by employees FBI leaked online.

With the hyper connected generation, a change is taking place and this change is obviously not just a technological one. In this regard, Michel Bauwens and the P2P Foundation study and communicate the alternatives in this field. They also explore transformative potential of P2P on the social, political, economic, cultural, educational levels. This is a pretty serious ideological trend that could take a growing part in the current debates.

The relationship to property and copyright has long been null and void. The past 15 years however (from Napster to EMule, Limewire or Mega) have blown up this contradiction in the digital domain. The right to exchange, share, re-appropriate or pool have become a space for a real prospective research. Russian artist Dimitry Kleiner has recently worked on a license, the Copyfarleft, that attempts to circumvent some limitations of the creative commons licenses and other copyleft approaches.

Is the work also a comment on the way p2p exchanges are vilified by the cinema industry?

Yes, the legal aspect is obviously closely linked to the film industry and to blockbusters. The Pirate Bays' top 100 reflects the issue quite accurately.

These past few years, download has even influenced the film industry and the production choices of big studios. In addition to blockbusters in 3D, they now design films made specifically to be seen inside cinema theaters and during films events. And these lose some of their appeal when they are viewed on Laptop / Home theater.

The Pirate Cinema goes beyond copyright, though. It is at the crossroads of many territories (social, legal, political, aesthetic), it leaves room for many versions and sequels to come.

Dziga Vertov, Man with a Movie Camera, 1929

Robert Longo, Johnny Mnemonic, 1995

Did anything surprise you about the images displayed on the screen? For example, do the same faces of famous actors in blockbuster movies keep appearing on the screen?

When you look at the installation over a long period of time, you start to notice many things about many things about the mass media distributed on P2P:

- For example, one can clearly identify the formal leveling between all the TV series (framing, casting, expressions, etc.)

- The aesthetic similarity between porn and video clips (explicit content) is also quite striking.

- At times, you can also see multiple versions of the same films, screeners captured in cinema theatres using different material and framing.

Is Sight and Sound the first place where you're showing The Pirate Cinema?

I started toying with the idea in early 2012 without knowing whether or not it would be fully realizable. We developed a first proof of concept during the Summer of 2012 with Labomedia in Orléans by modifying an existing Torrent client software. Around the same period Julian Oliver introduced me to Brendan Howell and we started experimenting with the concept. Brendan has gradually developed a specific "python" program. It took us almost a year to finalize a functional and stable version. I presented the work in workshops and conferences in the meantime, but Sight and Sound is the first to exhibit the project as an installation. We are currently working on a second version of The Pirate Cinema which will take the form of a live performance.

Merci Nicolas!

You can see The Pirate CInema during the fifth edition of Sight & Sound, a festival produced by Eastern Bloc. Sight & Sound has kicked off a few days ago, it remains open until 29 May in Montreal, Canada.

Going even further in its exploration of the invisible infrastructures that make up our world, The Lighthouse in Brighton currently takes part in the Brighton Festival with two projects that illustrate how the military uses technology to intrigue, screen and hide its activities. The investigation started in 2011 with the exhibition, Invisible Fields, which focused on the invisible but ubiquitous radio spectrum. The research went further with last year's show of Trevor Paglen's photos The Other Night Sky and Limit Telephotography, works i can't seem to be able not to mention almost every month on this blog.

One of the projects that you can see right now in Brighton is a body of work, by Mariele Neudecker, that makes visitors reflect upon (and reluctantly admire) the use of technologies in contemporary warfare.

Most of the works were developed during an artist residency that Neudecker undertook the Historic Nike Missile Site, a former Nike Missile launch site located to the north of San Francisco. Opened in 1954, the site was intended to protect the population and military installations of the San Francisco Bay Area during the Cold War, specifically from attack by Soviet bombers. The site was decommissioned in 1974 and is now open to the public as a museum.

Neudecker documented with seducing photo portraits and patient rubbings a series of weapons of mass destruction that were developed at the height of the Cold War.

The title of the exhibition, The Air Itself is One Vast Library, is drawn from a quotation from Charles Babbage, the 19th century mathematician and engineer, who originated the concept of a programmable computer. In 1837, he wrote:

"The air itself is one vast library, on whose pages are for ever written all that man has ever said or woman whispered. There, in their mutable but unerring characters, mixed with the earliest, as well as with the latest sighs of mortality, stand for ever recorded, vows unredeemed, promises unfulfilled, perpetuating in the united movements of each particle, the testimony of man's changeful will."

In the context of the artist's work, the quotation suggests that despite the machinations of warfare being beyond our daily perception, the air retains a memory of these exploits.

Mariele Neudecker, Hercules Missile (portrait), 2010

Mariele Neudecker, Hercules Missile (portrait), 2010

The portraits of the Hercules missiles are as appealing as they are threatening. They seem to float silently into a dark room, as if they were waiting to be fired one day.

Mariele Neudecker, Psychopomp - Hercules Missile graphite rubbings 1 & 2, 2010. Photo by Jamie Wyld, The Lighthouse

As Neudecker explained in her presentation at The Lighthouse last week, photography would never have enabled her to represent accurately the length and power of the Hercules missiles accurately. She thus obtained the authorisation to sit on the missiles and produced two 13 meter long graphite rubbings of the vast missiles. The close contact with the weapons made her realize that while one of them was real, the other was a fake, designed to trick the enemy into thinking that the U.S. military could count with far more deadly resources than it actually had.

Programme curator Jamie Wyld reminded me that during Second World War, Germany built an airfield that looked real from the air but was actually entirelymade of wood.: hangars, trucks, anti-air guns, planes, etc. To show that they could not be so easily fooled, an Allied bomber dropped a lone wooden bomb on the fake airfield. And not so long ago, Marguerite Humeau was telling us about illusionist Jasper Maskelyne who was hired by the British Army during the same conflict. He would use magic tricks on a large-scale to camouflage, hide, trick or to make dummy military vehicles and soldiers appear.

Other works investigate military imaging and tactical communication, which provide us with new ways of detecting what is intended to be camouflaged and out of view.

Mariele Neudecker, The Air Itself Is One Vast Library (Hunting Percival Pembroke C1), 2010. Courtesy of Galerie Barbara Thumm and the artist

I was particularly moved by the photo above. A day that she was browsing through a charity shop, the artist found a set of postcards showing military planes. Her artistic intervention was simple: she just applied correction fluid on the planes. The silhouette is thus hidden as much as it is highlighted. By superposing an additional layer of disguise, Neudecker made the plane even more unsettling and threatening that it would have been had the photo remained untouched.

Mariele Neudecker, Final Fantasy (flight recorder 1), 2013. Photo by Jamie Wyld, The Lighthouse

Mariele Neudecker, Final Fantasy (flight recorder 6), 2013. Photo by Jamie Wyld, The Lighthouse

Related: Brighton Photo Biennial - Agents of Change: Photography and the Politics of Space.

The Air Itself is One Vast Library remains open until 26 May 2013 at The Lighthouse in Brighton. Stay tuned for a post about Under the Shadow of the Drone.

Today i'm talking with Alison Craighead and Jon Thomson, aka Thomson & Craighead, a duo of artists who have been creating video, sound, installation, desktop documentaries and other online pieces since 1993. Many of their art works appropriate and recontextualise found footage, spam messages, live statistics or even local tweets to make artworks that talk about the way we perceive and position ourselves in the information age.

We'll be talking about how to handle and archive materials found on the web, the absence of any image documenting war in certain parts of the world, spam and other jolly subjects.

Never Odd Or Even, a survey of Thomson & Craighead's work is opening on May 24 at the Carroll/Fletcher Gallery in London. There will be karaoke, Space Invaders and i'm looking forward to that one.

Thomson & Craighead, The End, 2010

A whole morning of the Libre Graphics Meeting was dedicated to the presentations of the projects that had been selected to be developed during the Interactivos? workshop. One of them is the KLE - Kit de Libertad de Expresión (or Freedom of Speech Kit), a portable digital device that allows people from all over the world to participate to remote protests by sending and displaying text messages in public space. The interactive banner is (unsurprisingly) inspired by the record number of social protests that took place in Spain in 2011. It is estimated that over 23.000 demonstrations have been organised that year around the country.

How the system might look. Image courtesy Chema Blanco & María Solé Bravo

Developed using open free hardware and software, the KLE device is made of textile LED screen, is energetically autonomous, light and easy to build/replicate. Although KLE is a personal device, its use is shared by the community promoting participation and expression

Two of the project leaders, Chema Blanco & María Solé Bravo, were kind enough to answer my questions:

Hi María and Chema! How did you come up with the idea for Free Freedom of Speech Kit (KLE)? Why was it important to you?

The idea came when participating in one of many social demonstrations during last years in Spain. I never brought a billboard, but there are so many things to say! People bring their written banner to a demonstration but, once there, one might get inspired and have new ideas for messages to display. We also observe a lot of creativity in the banners messages, some of them are visual poetry. So the question arose: what would happen if banners were an interactive display?

Then this simple idea started growing and we saw the real implications that a connected autonomous device like this could have in the realm of the freedom of speech, such accessibility and communication between cultures in collective manners.

As we deepened in the subject, we also noticed that the main social movements had been sprouting through social networks, where one connects as individual to, later on, collectively gather on the public space. That revealed us that we could develop tools for providing a smoother transition between the individual use of social networks and the collective expression that public space represents. Fortunately, the project team comprises a great combination of technology and public space experienced professionals, gathering the required knowledge to develop such idea .

Prototype developed at MediaLab Prado. Image courtesy Chema Blanco & María Solé Bravo

Prototype developed at MediaLab Prado. Image courtesy Chema Blanco & María Solé Bravo

Prototype developed at MediaLab Prado. Image courtesy Chema Blanco & María Solé Bravo

The project is fairly ambitious and when i saw its presentation at the Free Tools meeting the other day i was wondering how much you'd manage to achieve in just the two weeks that the Interactivos? workshop lasted. So how far are you in the hardware and software?

These two weeks have been a great opportunity for accelerating the development of the project. Currently we have a prototype built in fabric (flexible and light) which is connected by Bluetooth to a mobile phone running an Android application for sending messages. So in just two weeks and with a great team of collaborators (Quique, Rafael, Dani, Carlos, Sonia, Gonzalo, Andrea, Echedey, Soraya, Eva and many others) we have built our first functional prototype: a crafted LED flexible display with internet connectivity through a cell phone. So we are now just one step far from having a real KLE (Kit de libertad de Expresión/Freedom of Speech Kit) working in the streets.

Is KLE mostly an art project with just the one prototype and a couple of performances to demonstrate its potential power or do you hope that its use will spread and that people will build their own and use it the way they want?

We come from the engineering and architecture world, both with a strong creative component but, even though we are very close to the artistic world (we are collaborating with photographers, theater companies...), we try to think as well about the actual functionality of our work (we are active members of a community garden and other self managed civic projects in Madrid and Barcelona).

We give as much importance to the conceptual framework of our projects as in contributing to society, providing solutions and tools that satisfy citizens needs rather than creating new ones.

Therefore, in KLE we are making an effort to unite technology, human and accessibility, with making it visually appealing and helpful to citizens. In fact, we aim at that joint where a piece of art is used and replicated on the streets giving it a much more powerful meaning, making it evolve in unexpected ways: born with us but living through other people.

How do you see people using it exactly? In advertisement context? Activist, protest ones?

Being a visual platform it makes it suitable for advertising purposes. However, our scope is focused on the social / citizenship field, where freedom of speech comes true sense. We are seduced by the idea of people expressing themselves by a platform that someone else or a community have built for others (note that the Freedom of Speech Kit is envisaged as a Do it Yourself Kit). It is also intriguing the concept of the "carrier" of other people messages, probably a new scope of legal issues may arise.

Besides other possible uses, our main interest is on bringing our kit to the streets serving citizens and their creativity and solidarity with others. We want to explore collective processes on the construction of messages and the interactions that these might generate in a context such a demonstration.

In this direction, our most ambitious goal, that we comment with great caution (due its dependance on the local restrictions of each country in terms of Human Rights, which we are now starting to look into), would be the creation of a worldwide KLE network where messages from different countries could cross over the globe and be displayed from square to square, connecting collectives from different public spaces globally.

Image courtesy Chema Blanco & María Solé Bravo

Why do you think people will need it? Aren't Facebook and twitter enough to spread text messages?

The word "need" might be too disruptive. There was a time when human beings didn't need fire, electricity or internet, but once they were invented they became extremely useful technologies.

The importance of our input is very far from those examples, but we are convinced that if in a demonstration there is a KLE, there will be many people willing to use it. We would like it to be a platform that provides accessibility to those who for any reason can not be on the street (physical challenge, illness, job restrictions, fear, etc) but want to join the community by sending a message through it.

Can you briefly explain how the system will work?

The kit consist of an electronic portable banner where a user can display messages either using a local physical interface, such a keyboard, or a virtual one using social networks through internet. Likewise, there is a sort of online platform that allows writing messages and sending and displaying on the banner.

In a more technical level; we provide different entry interfaces: a physical one, so anyone close to the banner can send messages to it, and another one via internet, thus anyone in the world, using their cell phone, computer or other device connected to the internet can send messages to the banner as well.

On the other hand, we want to develop an appropriate web service where all banners built in the world can be registered and be geolocalized by a GPS. In that way, messages could be sent directly to a specific place of the world (from square to square, as we were saying previously).

The device is built with a series of textiles (both conductors and insulators of electricity) and LEDs, together with a microprocessor and communication modules. All software and hardware design is being documented in an instructions manual, so anyone will be able to build their own kit: DIY. Actually, it will be delivered under copyleft license, so users will be able to improve the design, adapt it to their local circumstances and their knowledge will be delivered in the same way back to the rest of the world.

Any other upcoming steps/further developments for the project?

Right now, we think is quite important to reach the international communication layer via internet. There are situations we need to take in consideration, such how to solve communication when there are frequency inhibitors or when mobile phone cells are saturated during a demonstration. Step by step we will be analyzing and trying to come up with solutions to the wide range of circumstances, for maximizing KLE interaction possibilities.

The next phase of the project, to improve the implementation of the platform and make it more accessible, is to start a crowdfunding campaign. We want to complete the first version of the kit and distribute the first units in places where freedom of speech is under threat.

Thanks Chema and María!

Follow the development of the project on its website and on twitter.

Full cast of people involved in the development of the prototype:
Promoters: ETC Inventions (Chema Blanco, Anna Carreras) and María Solé Bravo.
Collaborators: Gonzalo Iglesias, Rafael Fernandes, Carlos Fernández, Daniel Alonso, Sonya Ricketts, Andrea Rosales, Soraya Nasser, Echedey Lorenzo, Miguel Fernández, Eva Rueda & Christian Rojo (ETC Inventions).

The prototypes of Interactivos?'13 Tools for a Read-Write World are exhibited at MediaLab Prado until May 31, 2013.

It's been too long since i've blogged about a project supported by Symbiotica (although they did get their fair amount of mentions and praises in #A.I.L., the show i present on ResonanceFM.)

The new project -developed by researcher and artist Guy Ben-Ary and by artist and academic Dr. Kirsten Hudson- looks into stem cell technology and more precisely Induced pluripotent stem cell, a cell re-programming technique able to reverse-engineer any cells from the body, coerce them back into their embryonic state and then trick the resulting stem cells into becoming any cell in a fully developed body. Regardless of the original tissue from which they were created.

For the In-Potentia work, the artists grew cells that were taken from human foreskin cells purchased from an online catalogue. The cells were then re-programmed by genetic manipulation and bio-engineered to become a neural network.

This functioning "brain" is presented in a sculptural incubator containing custom-made automated feeding and waste retrieval system as well as an electrophysiological recording setup.

The work is more clearly explained in the video below:

In-Potentia exposes, in the most limpid and absurd way, how science is blurring what we are used to regard as clear-cut categories, such as where life begins and ends or what constitutes a person. Or in Guy Ben-Ary's words:

The artists have kindly accepted to answer my questions:


Image courtesy "Where DogsRun"

In Potentia is without doubt a very powerful and thought-provoking work. What is the state of the scientific but also cultural debate around liminal forms of life? where could i read more about it (in a not too daunting, hi-tech language if possible)? do you have simple examples of these 'uncertain lives' at the border between human/non-human, coherent/hybrid, etc.?

Liminal lives are creating a great degree of conjecture and debate in many areas of discourse in science, life sciences and the humanities. Liminal lives come in many forms, basically, anywhere where there is a physical entity on the threshold of change ie an entity that sits somewhere between one form or thing and another, that could be on the threshold of life and death but could also be on other thresholds such as human/machine, human/non-human, or occupy a more moral ambivalence where an understanding of consciousness or sentience is attributed to a live physical entity which we had previously only regarded as being "merely an object" ie the space between object/being. Basically liminal life is any form of life that challenges and alters the very nature of the concept of the human being, but also the contours of human life.

Liminal lives can be "brain dead" or coma patients who are only being kept alive due to machinic intervention, or severely pre-term newborns kept alive with external life support systems, or embryos (both within or outside of a female host body) whose status as "pre-beings" disrupts our understanding of "life" as being conscious, independent and "useful". Liminal lives could also be humans with animal (or other human) organ transplants, genetically modified/manipulated (human and non-human) lives that challenge the ontological status of where and how "life" starts, or even non-humans that exhibit "human-like" characteristics of consciousness etc etc. A liminal life can therefore be found anywhere that our traditional western understandings of what it means to be human is challenged, altered or transgressed. If you were only going to read one thing on liminal lives, I would suggest Susan M Squire's 2004 seminal text: Liminal Lives - Imagining the Human at the Frontiers of Biomedicine.

Image courtesy "Where DogsRun"

I like the humour behind 'project dickhead' as you nicknamed it but i've been wondering if you're not worried that certain journalists (and bloggers) will jump on the opportunity to depict the project in a simplistic light? Your choice was quite bold because you could have avoided potential simplistic headlines by choosing to use other cells than the ones of foreskin?

The use of foreskin is deliberate and although may evoke simplistic readings, does not take away, I hope) from the ability of these cells to offer an accessible point of entry into an art/science work for non- art or non- science savvy viewers in way that starts to evoke ideas to do with gender, waste, body modification/manipulation, western capitalist opportunism and the role biomedicine and scientific rationalism plays in determining the moral status and hierarchy of all beings.

The idea or research strategy was to try and problematise the technology by putting forward an absurd scenario (make a brain from foreskin) and ask the views to consider it...

Image courtesy "Where DogsRun"

Could you briefly explain me the audio-soundscape that exposes the electrical activity of neural signals or synaptic output? It is just the electrical activity from the neural network being amplified? Did you modify the sound in any way to make it more 'evocative' of what the activity of a brain might sound like?

When we thought about exhibiting the project, its aesthetics or shall I say the visual/sonic language we needed to develop to show something like a neural network we decided not to visualise the network using a camera. Rather, we chose to grow the neurons on a multi electrode array or an electrophysiological set up that allows us to amplify the electric activity of the neurons so that the viewers could hear the neurons rather than seeing them. We felt that this sonic element will complement or support the aesthetics of the incubator. We believe that together they support the reading of the artwork. We also chose not a modify the sound of the neurons (even though not such a popular decision) due to our desire for authenticity and integrity. In my mind this way the focus is on the neurons and not programming or musicianship... I think that the blurry, noisy signal (that really needs analysis algorithms to decode it) also adds to the absurdity of the whole work in a way that it is a functional network but really what does this statement mean ?

Image courtesy "Where DogsRun"

Thanks Guy and Kirsten!

Today i'm talking with artists, curators, writers Ruth Catlow and Marc Garrett who, 16 years ago, founded Furtherfield, an organization with a very strong online and offline presence. Furtherfield.org is an online community where artists, theorists and activists meet and talk about art, technology and society but Furtherfield is also an art organization with a gallery located in Finsbury Park that invites the public to discover and reflect upon digital/networked media art and social changes.

The conversation has been fascinating: Ruth and Marc talked about the early days of the internet in London, about the legendary Backspace (now a Starbucks as Alison and Jon from Thomson and Craighead informed me yesterday), about how they've been curating exhibitions and events with the help and feedback of their large community for years, etc.

Finally, they discussed unmanned aerial vehicles. Their new show, Movable Borders: Here Come the Drones!, opens at the Furtherfield Gallery in Finsbury Park this Saturday afternoon. I'll be there and hope to meet some of you.

Movable Borders: Here Come the Drones! will open from Saturday 11 until Sunday 26 May 2013. The opening is on Saturday 11 May 2013, 2-5pm.
The following Saturday, Dave Young is organizing the workshop MOVABLE BORDERS: THE REPOSITION MATRIX.

Finally, Furtherfield has a fund raising campaign going on. I can't think of a better cultural cause to support right now.

Image on the homepage: Spinning Desktop by Antonio Roberts. I nicked it from another of Furtherfield's upcoming show: Glitch Moment/ums.

Ben Parry and Peter McCaughey, Balaclava Road (in collaboration with Lauren O'Farrell), 2013

Tatzu Nishi, Ascending Descendingi as part of Cultural Hijack at the Architectural Association London. 24th / 25th April 2013

Some works are openly political, others are more playful. Some have been designed to be used by people whose needs are otherwise overlooked, others are clever pranks. Cultural Hijack brings art out of the galleries and into the street. Which imho is always a good thing if you want to reach people who are not already convinced and content with your artistic, cultural or political ideas.

Cultural Hijack unfolds over three chapters: a slightly messy and crammed exhibition documenting the artworks in videos, photos, installations and artists' talks; a series of live-interventions around London; and CONTRAvention, a weekend of lectures, symposia, screenings, participatory actions, interventions, dinners and debate that will close the programme later this month. I'm spectacularly annoyed to miss that one as i won't be in town that week.

So let's wipe off a tear and make a quick selection of the works included in the exhibition.

Chicha Muffler Black Cab: yes, that one does exactly what it says on the tin. Instead of rejecting smoke, the modified exhaust of the cab provides a service of mobile hooka.

BGL, Chicha Muffler Black Cab, London, 2013. Image Ben Parry

My jaw almost dropped to the floor when i saw the description text and the video for Visual Kidnapping. Street artist Zevs cut out a 40ft woman from a Lavazza billboard in Alexanderplatz, Berlin and 'demanded' a 500,000 Euro donation to the Palais de Tokyo art center in Paris for her return. Which he apparently obtained.

Zevs, Visual Kidnapping, 2002

With the same haircut, twelve members of Ztohoven took a portrait pictures and using the Morphing software they merged every two faces into one. They applied for new Ids with these photos, but each of them used the name of his alter-ego. They lived for 6 months under someone's else identity, voted in the elections, travelled outside of the country, obtained a gun license or one of them even got married. After this period, they revealed theirs secret identities and documented the whole operation in an exhibition in Prague. The police confiscated their ID's and arrested co-founder of Ztohoven Roman Tyc for failing to show his ID card which was at the time part of the exhibition.

Ztohoven, Obcan K (from Citizen K), 2012

Paolo Cirio is showing the irresistible Loophole for All, a service to democratize offshore business for people who don't want to pay for their riches. It empowers everyone to evade taxes, hide money and debt, and get away with anything by stealing the identities of real offshore companies.

You can buy the identities of offshore companies on the website of the project Loophole4All.com at fairly low costs.

Cirio also interviewed major experts and produced a video documentary investigating offshore centers to expose their costs and to envision solutions to global economic injustice.

Paolo Cirio, Loophole for All

For his series of Minaret performances, Michael Rakowitz stands on a rooftop at the five designated times of prayer with a megaphone and an alarm clock that plays the entire adhan (the call summoning Muslims to prayer) from an embedded digital chip.

Michael Rakowitz, Minaret, 2001 - Ongoing (Enver Hoxa Monument (Pyramide), Tirana, Albania 2005)

Electronic Disturbance Theater's Transborder Immigrant Tool hacks cheap GPS mobile-phones to install a device for helping Mexican immigrants cross the U.S.-Mexico border, providing them navigation, poetry, the location of highways, border patrols and water left by Border Angels in the Southern California desert.

Electronic Disturbance Theater 2.0/b.a.n.g. lab, Transborder Immigrant Tool (2007; photo courtesy 319 Scholes)

EPOS 257 crafts oversized bullets that he fills with paints then shoots at commercial billboards and architectures using an extra-long shooting instrument. Each piece is both a unique abstract painting and a gesture of reverse takeover.

Urban Shoot Painting, Prague and suburbs, winter and spring of 2009

An 'old' one i was ignorant about: The Clandestine Insurgent Rebel Clown Army [or CIRCA], an army of professional clowns who protest against corporate globalisation, war and other issues.

The Clandestine Insurgent Rebel Clown Army. Photo Karen Eliot

I'm sure you know this one already. I still find it as charming as ever: Matthias Wermke & Mischa Leinkauf's In Between („Zwischenzeit") used homemade handcars that can be folded into backpacks to sneak into Berlin's U-bahn and navigate it at night.

Matthias Wermke & Mischa Leinkauf, Zwischenzeit Trailer

Cultural Hijack was curated by artists Ben Parry and Peter McCaughey. It runs daily at the Architectural Association School of Architecture, London, until 26th May 2013. The final weekend will be dedicated to CONTRAvention, a series of lectures, symposia, screenings, participatory actions, interventions, dinners and debate.

Work stations at Medialab Prado

Volunteers from around the world are welcome to participate to projects that will help the scientific community identify and mark deforested areas using high-resolution Earth imagery, research the elusive Higgs particle using a virtual atom smasher, understand the fundamental laws of the universe, or the secrets of magnetism at the molecular scale.

I met Daniel Lombraña González, a researcher and lead developer of the Citizen Cyberscience Centre (aka CCC, a partnership between CERN, the UN Institute for Training and Research and the University of Geneva), at the MLP and he was kind enough to answers my questions about some of the Citizen Cyber Science projects:

Hi Daniel! How did you get to collaborate with MediaLab Prado? What sort of infrastructure, network and support do they provide the project with?

The CCC contacted Medialab this year because we think that we have a lot in common. Medialab is an heterogenous space where science, engineering and art are mixed in a beautiful way and we thought that it could be really interesting to participate with them. Medialab will offer its connections with other collectives and we will try to provide our knowledge in citizen science events like the one that we are organizing the 17th and 18th of May.

One of the most impressive project of CCS is probably LHC@home, a platform that allows volunteers to help physicists develop and exploit particle accelerators like CERN's Large Hadron Collider, and to compare theory with experiment in the search for new fundamental particles. So how exactly can people contribute, do they have to be physicists too?

People contribute by creating an account in the project and downloading two pieces of software: BOINC and VirtualBox. BOINC is the software that allows to automatically configure the VirtualBox software, that will be used to create a Virtual Machine that will connect CERN and run the simulations. The CCC developed this aspect of the project contributing the integration of the virtualization VirtualBox software (created by Oracle) within the BOINC framework.

Once you have installed the software, all you have to do is to see how your computer and user account gets credits based on the simulations that your PC are contributing to the project and check if you are in the top 20 of the best volunteers or if you are part of the Billionaires club (users who have simulated more than 1 Billion of events!)

Therefore, as you can see, the project welcomes everyone to participate and you don't have to be a physicist at all :-)


Billionaires club

Checks are performed on the alignment of the magnets in the LHC tunnel. Photo: Maximilien Brice, © CERN

How important is their contribution? Does their help have a big impact on the research of the CERN physicists?

Here I'm going to quote the main researcher of the project about this specific question :-)

The place where T4T contributes is in the validation of the theoretical models that underpin the interpretation of the data. Roughly speaking, if we only had really bad theoretical models, the analysis of the real data would suffer. Given only very crude models, we would be more uncertain about what a real Higgs state should look like in the experiment, and what is merely unrelated "background". That uncertainty would translate into having to run the LHC longer, collecting more statistics, before an announcement such as the one on July 4th could be made with any confidence. The fact that we do have quite sophisticated and thoroughly tested theoretical models for the physics taking place at the LHC "sharpens" our ability to extract conclusions from the data with confidence.

Day by day, T4T volunteers are testing our theory simulations. When new versions of the simulation codes are released, we incorporate them into the T4T queues and send them out to you for testing. When new test data is released, we incorporate that data into the T4T test suite and again send everything we got out to you for testing against this new added piece of information, each piece making up a small part of the full picture of what the "ideal" simulation should look like.

Check the full message from Peter Skands here, as he explains much better the implications of the contributions of the volunteers to the researchers.


Forest Watchers

I was particularly intrigued by Forest Watchers which invites people located anywhere in the world to monitor patches of forest that need to be protected. Now a forest like the Amazonian is extended over a very large territory so how many volunteers would its monitoring typically involve?

The current project only has 164 registered users, but almost 1000 people have actually participated in the project since its creation contributing tasks :-) (you can see the stats here). We still are in the early stages of the project, and we are starting to analyze the first results, so I cannot give you that answer for the moment. We hope to have some published paper in the future, but there is no ETA yet.

And we all know about the Amazonian forrest but how about other forests that needs to be protected? Can you give other examples, in Europe in particular?

The platform was created with the idea of allowing other countries to use it in a simple way. If I'm not mistaken Europe is well covered, due to the available human power and resources that EU has for this type of natural parks. The main goal of starting in the Amazon was because INPE, one of the main partners behind the project, are the world lead experts in deforestation assessment and they contacted the Citizen Cyberscience Centre to start the project.

Now once the location of a threat has been reported, what happens? Do government usually step in? Or non-governmental organizations?

Usually the government. However, ForestWatchers.net has not contacted the government at all, as this is a research project from INPE and CCC analyzing the feasibility of getting non-experts, citizens, analyzing deforested areas. As I said before, ForestWatchers.net is a research project and we are trying to analyze if the volunteers will be able to produce good results in comparison with the experts.

How do you verify that information provided by volunteers? How can you check that it is correct and valuable?

For every task at least 30 different persons will contribute an answer. Then, we will analyze all the reported answers statistically to be sure that there are no outliers, and that the majority of the volunteers agree on the reported results. We are in the process of analyzing the data with INPE experts to quantify the quality of these results.

Most of the projects of Citizen Cyber Science are developed in partnership with prestigious institutions such as CERN, universities in France, Switzerland and England. How open are institutions in general to direct participation of citizens? Because i always thought that science was a domain reserved to an elite of intellectuals...

It depends :-) I think there is a no clear answer here. In general the first time that we approach a research institution with a citizen science proposal, the usual answer is to be afraid of going into the open. However, after showing some of the projects that we are currently running and supporting some of these scientists see the benefits of using these approaches and they jump in. It is important also to mention that even citizens feel like you, so even though there are several citizen science projects, we are not sending the right message to you, as you think this type of science is only for an elite :-)

Thus, in summary, let's say that in general institutions are not so open due to citizen science is "grass roots movement" but it is taking pace and getting more adepts every day.

Why do you think that people contribute? What do they gain from that?

From time to time we interview the volunteers to answer that specific questions. In general, people do it because they like to contribute to the project, because they feel that science is important and this type of projects give them an opportunity to see science closer.

What do they gain? This is a really good question! Actually, we are now in an EU project called Citizen Cyberlab where we are studying actually what do they gain. In general, what the volunteers gain is a non-formal knowledge about the project where they usually learn science "by accident" :-) For example, by participating in the LHC@Home Test4Theory project, some volunteers have become "experts" in the Virtualization technology that the project uses. This has been proven, because new contributers usually get help from this other volunteers with very detailed answers :-)

Thanks Daniel!

HC Gilje, Wind-up birds, 2008

The first chapter in this series, 'Drones / Birds: Princes of Ubiquity', looks into autonomous technology through the lens of birds as objects reflecting our contemporary relation with technology.

The bird has long been seen as a symbol of freedom, communication, transborder mobility but also as an indicator of environmental change. However, much of the bird physical and spiritual significance has been lost on the way to and from the industrial revolution. But according to Bram Crevits, curator of 'Drones / Birds: Princes of Ubiquity', digital culture has brought birds back to the fore. Or maybe it's the birds which have forced their way into our techno-mediated world. Think Twitter of course. And birds incorporating ringtones into their repertoire so effortlessly that Richard Schneider of the NABU bird conservation centre in Germany suggested that, in the interests of ecology, mobile phone users convert their tones to pop songs which are too complex to be mimicked by the birds. Woodpeckers attacking CCTV cameras. Or confused birds trapped into the twin columns of light shot into the sky each year on September 11 in New York. The bright memorial short circuits some of the cues that birds use when they are migrating at night. And then there's drone watching as the new bird watching. And drones counting birds.

The relevance of drones -or Unmanned Arial Vehicles- in relation to birds is more than purely formal or anecdotal. Another source of inspiration for the exhibition is indeed the New Aesthetic and the focus on the ways we experience our digital condition: always on, always there. Drones have been related to this New Aesthetic debate ever since it started.

Christoph De Boeck & Patricia Portela, Hortus, 2012

Christoph De Boeck & Patricia Portela, Hortus, 2012

Part of the exhibition was located at the Botanique. Christoph De Boeck & Patricia Portela installed invisible birds inside the greenhouse. Sensors measure the dynamics of wind and light harvested by the plants during their photosynthetic process, and translates it into bird sounds. When there is human movement in the garden a financial algorithm (similar to the ones used in a speculation economic market) interprets the variation of the received data and transforms and remaps the natural garden soundscape to which plants seem most profitable in that split second.

However, most of the works were in a gallery hidden inside a tunnel. It took me ages and a couple of panicked phone calls to find it. The show was pretty exciting though because instead of showing only artworks and building up the usual art&tech discourse around it, the curator chose to insert the works into a broader context that included the political and the downright popular.

For example, two videos demonstrated the impact that unmanned aerial vehicles have on every day life in Pakistan.

On the one hand, a video shot by Noor Behram outside his house in North Waziristan, the footage shows a reaper drone flying over Waziristan. For more than five years, Behram has been documenting drone attacks in Pakistan's tribal areas, the hub of the CIA's remote assassination program.

Trevor Paglen interviewed Behram a while ago: "[The few places where I have been able to reach right after the attack were a terrible sight" he explains, "One such place was filled with human body parts lying around and a strong smell of burnt human flesh. Poverty and the meagre living standards of inhabitants is another common thing at the attack sites." Behram's photographs are miles away from official American reports that deny civilian casualties from drone attacks: "I have come across some horrendous visions where human body parts would be scattered around without distinction, those of children, women, and elderly."

Pop song Za Kaom Pa Stargo Stargo Drone Hamla" (My gaze is as fatal as a drone attack) shows the other hand of the spectrum, where the increasing appearance of unmanned vehicles over the skies of Pakistan (see data viz Drone war: every attack in Pakistan visualised for more details) inspires little more than the lyrics of a song:

Sitara Younis, Za Kaom Pa Stargo Stargo Drone Hamla" (My gaze is as fatal as a drone attack)

'Drones / Birds: Princes of Ubiquity' was thus full of contrasts. One moment, you were reflecting on surveillance technologies, next you were laughing (the suitors of the frantic singer are peerless.)

I'm now going to revert to my usual "throw as many images and projects in their face" mode and leave you with a few works i've (re) discovered in the show:

Dries Depoorter, Subtwitter

Subtwitter is a free application that scans subtitle-files (.srt) of a film and replaces them with similar tweets. The application uses the original subtitle-file of a movie or series of your choice, then looks into each separate sentence of the subtitle and crawls the twittyverse for a similar tweets. The result are --sometimes absurd and sometimes witty- subtitles that consist of computationally associated tweets.

Zimoun, Woodworms, 2009-2012

A microphone picks up and amplifies the sound of woodworms eating their way through a piece of wood. Temperature, humidity and other environmental qualities determine how the wood worms dig their tunnels and 'play' the piece of wood.

Addie Wagenknecht , Pussy Drones, 2013

The Pussy Drones gifs trigger a new form of discourse between the web­based experience (lolzcat, memes, gifs) and historically closed systems of the patriarchal structures which control the physical world. That is to suggest drones are merely 'unmaned' cocks controlled by (finding) pussy.

In theory the democratic nature of the internet should allow everyone to create equally, controlling its code at an open root p2p level. Yet the internet­ net art, the very essence of the web (programming, the code structure itself) is still ruled by men and corporations who control and own it in its entirety. We are not Facebook's customers, we are their product. The web has never been a democratic medium, Mark Zuckerberg said 'There are probably 200 million people who think that Facebook is the internet.' It is easy to include the digital life is not any different than our life away from the keyboard.

David Bowen, Fly Tweet, 2012

David Bowen's now famous Fly Tweet sends Twitter messages based on the activities of houseflies living inside an acrylic sphere along with a computer keyboard. As a particular key is triggered by the flies, the corresponding character is entered into a Twitter text box. A message is tweeted as soon as 140 characters are reached or when a fly triggers the "enter" key.

More fly thrills at https://twitter.com/@flycolony

Marcus Coates, The Plover's Wing, 2009

Marcus Coates uses shamanic rituals and his knowledge of the animal world to try and solve problems faced by local (human) communities. In 2009, he visited the mayor of Holon in Israel who asked him how he should handle the problem of the violent youth in the city. Coates first consulted with the animals that he had encountered, and in particular the plover, a bird known for luring predators away from its young by pretending to be injured so as to appear as an easy target for predators. His reading of the meeting with the plover was then explained to the Mayor. According to Coates, The important thing for [Israel] as a nation is, through education, to emphasize shifting identities and an empathy with a different position. It's a fundamental position of resolution within a conflict, to be able to emphasise with your enemy or oppressor.

His solution to Holon's social ills is to teach empathy and recognise that victim status is often used as justification for violent behaviour.

Hi answer left the Mayor very impressed as you can see at the end of the video i've pasted below:

TateShots: Marcus Coates

Erica Scourti's video were among my favourite. Taking her cue from stock video sites corresponding to the key words 'woman', 'nature' and 'alone', the young artist filmed herself performing each action described in the title. The video and title was then uploaded to YouTube, forming a collection of 'rushes' which were used to create the final single channel version. After that, videos started to get a life of their own, with artists and film makers using Scourti's films as another stock library and including then in their own videos.

Erica Scourti, Woman Nature Alone, 2010

Erica Scourti, Woman Nature Alone, 2010

Esther Polak & Ivar van Bekkum, Urban Fruit - Street Wrapper, 2012

Paolo Cirio, Street Ghosts, 2012

The Digital Now is produced by Cimatics, a Brussels-based arts organisation which activities includes the production support of audiovisual and digital creations as well as live events, exhibitions, workshops and guest-curations.

All images courtesy Cimatics. Except the ones illustrating the work of Erica Scourti and Marcus Coates,
Image on the homepage: Zimoun, Woodworms, 2009-2012. Photography by Zimoun ©

Designers and biohackers Raphael Kim and Funk are in the studio with us today to talk about the London Hackspace, a community owned, non-profit organisation where members come to meet, create and fix things individually or together. A hackerspace obviously involves much coding but there's a lot more going on: there's also laser cutting, soldering, drilling, woodworking, sewing, 3d printing, learning, tinkering, repairing and pizza eating. The space even welcomes a small bio-hacking lab.

A few weeks ago, the London Hackspace moved to a new, brighter and much bigger location on Hackney road. HSL is the largest hackerspace in the UK, with hundreds of members. And if you're not one of them the space opens its doors to visitors every Tuesday evening.

Image by Raphael Kim

DI Biohack Workshop 2013 at the (old) LHS. Image by Raphael Kim

DI Biohack Workshop 2013 at the (old) LHS. Image by Raphael Kim

New space for the LHS, just before moving in. Image by Raphael Kim

The performance marks the third anniversary of the disaster but it also questions the sponsorship of Tate by the oil multinational. Each day, three different performers are whispering courtroom transcripts from the BP trial. The videos are streamed live for anyone who can't make it to the Turbine Hall and other exhibition rooms of the institution.

Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

Liberate Tate action at Tate Britain, 2011. Photo credit: Amy Scaife

Two years ago Liberate Tate performed Human Cost in the Duveen Gallery in Tate Britain, where a naked man curled up on the floor had oil poured all over him. And last year the group delivered a 16.5 metre wind turbine blade to the gallery, along with documents officially gifting it to the nation as piece of art. '

Strangely enough, Tate itself triggered the artistic protest. Liberate Tate was indeed founded during a workshop in January 2010 on art and activism, commissioned by Tate. When Tate curators tried to censor the workshop from making interventions against Tate sponsors, even though none had been planned, the incensed participants decided to continue their work together beyond the workshop and set up Liberate Tate.

Now the performance interested me for two reasons: the trial against BP isn't receiving the major international coverage i would have expected (even though the damages to human health and the environment are still very much felt, even though the clean-up is far from being finished and even though the local communities are still struggling to recover from the economic devastation.) The second reason is that, like many people working in art, i find it difficult to make up my mind: is it really so bad to take some dirty money to support the art community? Do we really have a choice in these harsh times of cuts in the art funding?

Mel Evans of Liberate Tate has kindly accepted to answer my questions about the performance.

Liberate Tate has been protesting since 2010 but has been achieved so far?

Well, over 300 artists and cultural workers have signed their name to letters calling on Tate to drop BP sponsorship in the press. Over 8000 Tate members and visitors have petitioned Nicholas Serota to end the sponsorship deal with the oil company. And, at the 2012 Tate Members' AGM, a full hour of the session was filled with diverse voices calling for Tate to disclose more information on the sponsorship deal and heed members' perspective on it. For Liberate Tate, their performance interventions are now held in Tate's archive: a mixed response, but a recognition of significance nonetheless. More and more artists have gotten on board with the call for change, including Conrad Atkinson who has numerous works at Tate, and Raoul Martinez, who has been exhibited as part of the National Portrait Award. Beyond this, we regularly hear tell of Tate staff at all levels sharing our concerns with BP sponsorship at Tate.

Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

Because of Liberate Tate, I (and i'm sure many members of the public) am now acutely aware of the sponsorship and entering the exhibition space with a sense of guilt...

Liberate Tate doesn't intend to make anyone or any visitors feel guilty: our slogan is Love Tate Hate Oil.

But it is not a sense a guilt we wish to generate, but rather one of possibility - often this is the question the arts often ask, how do we understand the world, how might we understand it differently, and what might we make possible. Just because oil is a feature of our every day lives does not mean we cannot question it - in fact it is when something is so pervasive that we must consider it more.

In these times of cuts in public funding, corporate sponsorship seems to be a reasonable option. What right do we have to judge Tate and decide where they can and cannot take the money to produce and exhibit contemporary art?

Pressure on arts institutions to make deals with corporations is certainly premised by the Tory-Lib Dem government as justification for the cuts. The opportunity for sponsorship and the impact of the cuts is felt very differently according to organisations sizes however: smaller arts organisations have lost everything through the ACE cuts, and have little opportunity for corporate sponsorship, because business is only interested in the notoriety of allegiances with big name institutions. With Tate as the key example, all of their corporate income from events and sponsorship amounts to a minimal percentage of their overall income. Tate has refused to dispose figures on the BP deal, but we estimate it to be £500,000 - a minuscule slice of Tate's budget. From Tate's own figures we know they still receive about 35% state funding, and raise almost half via Tate Enterprises in their shops, cafes and restaurants. The picture of the corporate knight in shining armour saving the flailing arts institutions is a total misnomer. It is in fact the CEO of Tate Enterprises Laura Wright who has led the way in securing Tate's financial stability.

The tip of a turbine blade is carried over the Thames from St Paul's Cathedral by Liberate Tate for the artwork The Gift in Tate Modern's Turbine Hall 7 July 2012 Credit: Martin LeSanto-Smith

The Gift performance by Liberate Tate Tate Modern 7 July 2012. Credit: Ian Buswell

Last year, Tate wasn't too pleased about the wind turbine blade that you offered them as a gift. How is Tate reacting to this year's performance?

The Gift was probably our most confrontational performance to date. It was certainly the largest! Over a hundred people and a 16.5 metre wind turbine blade...It feels good to go in absolutely the other direction with All Rise, and make a work that is quiet, small, unobtrusive. All Rise is really about the ripples a performance can make. Over this week we've drawn in audiences from around the world who can watch the three performers move around Tate Modern via live stream every day 3-4pm GMT+1. On the first day Tate staff questioned what we were doing, but now we have been told no-one will interfere. Visitors notice us and ask questions as performers pass them in the gallery, or stop and listen to the legalistic text of the trial whispered by the performers, but we're not obstructing anyone in any way, so I think there's little grounds to ask us to leave. Tate might also be aware that should they eject us, we have news media on speed dial. Overall, allowing this piece to grow into the space has been great, and unlike The Gift, we're able to bring our questions back to the terrible harm still being felt since the BP Gulf of Mexico disaster, at the same time as inviting Tate visitors, members and staff into a conversation with us.

What do you say when people claim that BP has no influence about what is exhibited in the galleries anyway?

It's very hard for us or them to make an absolute measure on BP's curatorial influence. The presence of a sponsor can censor silently even if not directly - any cases of which would be surely fiercely hidden from view. Several artists note numerous cases in which they have seen BP related censorship take place. Liberate Tate was itself founded during a workshop at Tate in which BP sponsorship was raised when staff sent an email to the organiser stating "to be aware that we cannot host any activism directed against Tate and its sponsors". Beyond that. I see the question also being about, what impact does BP have on Tate by its presence and association? What does Tate become, despite presenting itself as a politically savvy, progressive institution, by association with BP?

And what can we, general public, do to help 'liberate Tate'?

Go to Tate and raise the questions. Write to Tate. Make art about BP at Tate. Speak to Tate staff you know and ask them what they think. This is an art movement for change that affects us all as artists on some level - we have a stake in the values that influential contemporary art institutions uphold, and it is for us to shape those values in our work. See you in the gallery, challenging the presence of BP in whatever creative way you see fit, be it on feedback forms or something more adventurous! And get in touch at liberatetate [at] gmail.com or @LiberateTate on Twitter if you want to connect with us and what we're trying to do.

Thanks Mel!

If you've missed All Rise, i'd recommend that you check out Tate à Tate, Lib­er­ate Tate's altern­at­ive audio tour of the Lon­don Tate gal­ler­ies.
Also check out Platform London's book The Oil Road - Journeys from the Caspian Sea to the City of London, it's available on Amazon.com and amazon.co.uk.

Today we will be talking with the flamboyant Adam Zaretsky, a Doctor of Philosophy in Electronic Arts, a researcher and art theorist whose work focuses on Biology and Art Wet Lab Practice. He has been lecturing and doing research in some of the most prestigious institutes around the world. If you've been following this blog for a while you probably know that i LOVE Adam Zaretsky.

Zarestsky has co-habited during one week in a terrarium with E. Coli bacteria, worms, plant, fish, frogs, mice, flies and yeast. He has dedicated part of his research at the Massachusetts Institute of Technology to playing Engelbert Humperdinck's Greatest Hits to fermenting E.Coli continuously for 48 hours and observing the impact that the rather camp music had on the bacteria. More recently, the artist has worked with materials that include surgically manipulated pheasant embryos and a preserved turd of the deceased writer William S. Burroughs.

So that's what we are going to discuss in this episode of #A.I.L., turds from a famous writer but also eyeballs in armpits. And ethics, biotechnological materials and ''Full Breadth Genetic Alterity.

Anyway, let's kick off with Robert Adams: The Place We Live, a Retrospective Selection of Photographs at the Reina Sofia because it is simply stunning.

Since the 1960s, Robert Adams has been documenting the landscape of the American West. Lonely roads, small town lights, deforested woods, the Pacific, the great plains, the suburban residential estates, the truck stops and the shopping malls. The paradises lost and the ones about to be built.

For a European like me, there's something extremely exotic about his images. It's the Colorado i see in old Hollywood movies. Yet, the urban development and the over-exploitation of natural resources are realities we are all familiar with.

Robert Adams, Longmont, Colorado, from the series 'Summer Nights', about 1982 (printed 1989)

Robert Adams, Burning oil sludge, north of Denver, Colorado, 1973-1974

Robert Adams, Longmont, Colorado, 1973-1974

Robert Adams, Santa Ana Wash, Redlands, California, 1983, printed 1991

Robert Adams, In a New Subdivision, Colorado Springs, Colorado, 1969

Colorado Springs, Colorado, 1969

Robert Adams, Frame for a Tract House, Colorado Springs, Colorado, 1969

Robert Adams, Alameda Avenue, Denver, 1970

Robert Adams, Pikes Peak, Colorado Springs, 1969

Robert Adams, Lakewood, Colorado, 1968-1971

Robert Adams, Sitka spruce, Cape Blanco State Park, Curry County, Oregon, 1999-2000

Robert Adams: The Place We Live, a Retrospective Selection of Photographs is at the Museo Reina Sofia in Madrid until 20 may 2013.

The other retrospective i wanted to mention is dedicated to the Galician photographer Virxilio Vieitez.

Virxilio Vieitez (Pontevedra, 1930-2008), one of the most important photographers of Spain's photographic history, carried out commissioned works, particularly intended for Galicians who had emigrated to Argentina, Mexico and Venezuela and wished to keep a visual record of their families in Galicia.

Almost no one ever smiles in those photos. Besides, people often chose to pose with some atypical companions: a radio, a goat, a couple of potted flowers.


Dorotea do Cará, Soutelo de Montes, 1960-61

San Marcos, 1962

Everyone however is impeccably dressed.

Pili a perruqueira [Pili the Hairdresser] Cerdedo, 1974

'Changüí', Marilena Soutelo de Montes, 1964

Special mention to the Pirelli girls who deserves to feature on calendars:

For some very odd reason, this sissy lady made me think of myself...

Carnicería 'L. Monso', Cerdedo, 1967

Spain, Galicia, 1955-1965

A few views from the exhibition space:

The Virxilio Vieitez retrospective is at Espacio Fundación Telefónica in Madrid until 19 May 2013.