Surveillant Architectures

Developing paradigms in media culture. This blog is collaboratively edited by the Surveillant Architectures Group.

Drones & Satellite issues (with a bit of Big Data mixed in)


Talking points and links from today’s seminar, in chronological order:

Amazon delivery drones are coming  http://blog.khm.de/surveillant_architectures/?p=1628

 

Ostfriesen testen Bierdrohne https://www.youtube.com/watch?v=e2oVw39rk1U

 

Matrix Sentinel  https://www.google.com/search?tbm=isch&q=matrix%20sentinel&tbs=imgo:1

 

autonome Kampfroboter: “Das Gesicht unserer Gegner von morgen”  http://www.faz.net/aktuell/feuilleton/debatten/krieg-mit-drohnen-das-gesicht-unserer-gegner-von-morgen-11897252.html?printPagedArticle=true#pageIndex_2

 

a science fiction novel in our Semesterapparat:  Daniel Suarez, Kill Decision  New York, NY: Penguin , 2013 . – 495 S

http://www.faz.net/aktuell/feuilleton/debatten/digitales-denken/daniel-suarez-im-gespraech-schwaerme-von-toetungsmaschinen-11897282.html?printPagedArticle=true#pageIndex_2

Rezension von Dietmar Dath dazuin der FAZ vom 21.7.2012:   http://www.faz.net/aktuell/feuilleton/buecher/thriller-kill-decision-von-daniel-suarez-wie-technik-die-welt-zum-schlechteren-wendet-11826693.html?printPagedArticle=true#pageIndex_2

 

Surveillance in Science Fiction. About how most things that were once science fiction are now here and in use. Plus a list of actual surveillance measures deployed right now.

http://rhizome.org/editorial/2012/jun/6/natural-history-surveillance/ linking to:

http://www.technovelgy.com/ct/Science_List_Detail.asp?BT=Surveillance

 

Martha Rosler quoting from Philip K. Dick: Vulcan’s Hammer  http://www.martharosler.net/projects/drone2.html

 

Anti-drone self-defense

Animals and drones – chimpanzee   https://www.youtube.com/watch?v=wPidiiaovL4

 

Animals attacking drones

“Thank you, animals, for being able to express how we all feel.”

+ another comment below:

“drones shouldnt be considered property, if i destroy them, it is self defense in 100% of cases, as a person with programming knowledge, I know you can program to do literally anything you desire for them to do, and since, by sight i cannot know what they are programmed to do, and yet at sight they may be able to harm me, i have the right to disable them, they are hazardous anima they cannot be of traditional perception of “property” .. when i can see them, they infringe upon me explicitly.”

https://www.youtube.com/watch?v=9F8sPBsR9Lo

 

 

These Shotgun Shells Are Made for Shooting Down Drones http://makezine.com/2015/08/19/these-shotgun-shells-are-made-for-shooting-down-drones/

 

Long-Distance Jammer Is Taking Down Drones  http://makezine.com/2015/10/16/research-company-takes-aim-uavs-portable-anti-drone-rifle/

 

 

new problems!  but what about robot rights?  https://www.schneier.com/blog/archives/2015/08/shooting_down_d.html

 

Drones that shoot back  https://www.youtube.com/watch?v=xqHrTtvFFIs

 

Prototype Quadrotor with Machine Gun!  https://www.youtube.com/watch?v=SNPJMk2fgJU

 

 

Basically these things exist in reality and have been used in war for quite some time now.
The Intercept – Drone Papers  https://theintercept.com/drone-papers

 

Al-Quaida anti drone instructions:  http://hosted.ap.org/specials/interactives/_international/_pdfs/al-qaida-papers-drones.pdf

 

 

 

Eben Moglen: Time To Apply Asimov’s First Law Of Robotics “A robot may not injure a human being or, through inaction, allow a human being to come to harm.”  http://www.forbes.com/sites/andygreenberg/2012/06/26/eben-moglen-time-to-apply-the-first-law-of-robotics-to-our-smartphones/

 

 

typical news photo 2015 – it’s now OK to photograph someone from above and use that in newspapers

https://www.google.com/search?sa=G&hl=de&tbm=isch&tbs=simg:CAQSjgEaiwELEKjU2AQaBAgACAMMCxCwjKcIGmIKYAgDEijEGfkO4hvHGeQO5Q76DskZ-A7GGdAs2i2pOtEs7zqtOt0tyy2GJLMzGjA2T-Vc6YLYXtS4M9QtFwGYbczcCNja0f6NMP8hdR7NR4y24DtdX-1sJRRB94AA4IEgAgwLEI6u_1ggaCgoICAESBM1cybYM&ved=0CBsQ2A4oAWoVChMImfL9hJr1yAIVwjcUCh3ecwT_&biw=1389&bih=776

 

 

Big Data using Satellite view: skybox startup

“Inside a Startup’s Plan to Turn a Swarm of DIY Satellites Into an All-Seeing Eye”  http://www.wired.com/2013/06/startup-skybox/

http://www.skyboximaging.com/

“Skybox Imaging empowers global businesses to make better decisions with timely, high fidelity imagery and infinite analytics.”  http://www.skyboximaging.com/products/analytics

Introducing SkyNode  – yes let’s try and order this for seminar use: http://www.skyboximaging.com/products#access
In the end, the aim is to have a live street-view. Example full-HD videos:  https://www.youtube.com/watch?v=BsW6IGc4tt0&index=1&list=PLIIuwfzJSzET1C0KDpA5FZrHLlDGfcHr3

conflict in Tripoli  https://www.youtube.com/watch?v=OWXN3CXsxTg

 

 

The discussion strayed into Big Data territory (even though we try to concentrate on aerial issues), so let’s have this excellent essay as a last point:

James Bridle, booktwo.org: Big Data, No Thanks  http://booktwo.org/notebook/big-data-no-thanks/

 


Friedrich Kittler 1986 über die NSA


Friedrich Kittler in einem Taz-Artikel von 1986 über die Rolle der NSA bei der Entwicklung des Computers.


SFC Shoah Film Collection 2010


On occasion of the 65th anniversary of the Liberation of the Concenctration Camp of Auschwitz – 27 January 1945-2010, VideoChannel & A Virtual Memorial Foundation launched the “SHOAH Film Collection” (SFC) – an ongoing collection of art films and videos reflecting the topic of SHOAH, which is planned to become the basis of the future exhibition project “Draft Title: SHOAH” – http://dts.engad.org – at a later stage.

Thanks to Bojana Romic (Serbia) for being curator in SFC.

http://dts.engad.org/sfc-index.html


\BOOK\ byproducts: On the Excess of Embedded Art Practices


4_byprod_cover.png

byproduct examines artist’s projects whose artfulness lies in building micro-worlds within other non- artworld systems. While parasitically reliant on the socioeconomic structure and symbolic order of other dominant systems, these artworks ­ or “byproducts” — exploit loopholes, surpluses, and exceptions in order to affirm individual agency and complicate the mechanisms of their dominant “host.” As pivots or turning points between art and other sectors, these works function as carriers for meaning across disciplines.

While responding to 20th century precedents that investigate the relationship between artists and industry, ‘Byproducts’ suggests these outlines and vocabulary for evaluating relevant analytic criteria such as the outcome, duration, retention of a critical voice, assimilation or reconciliation, etc. As a book responding to the emergent genre of ‘interventionism’ in contemporary artists’ practices, byproducts shifts focus away from the artist’s singular, anarchic gesture and instead towards the integration of art into everyday life.

read more:

http://www.rev-it.org/projects/byproducts.htm


DICTIONARY OF WAR


http://dictionaryofwar.org/concepts/

DICTIONARY OF WAR is a collaborative platform for creating 100 concepts on the issue of war, to be invented, arranged and presented by scientists, artists, theorists and activists at four public, two-day events in Frankfurt, Munich, Graz and Berlin. The aim is to create key concepts that either play a significant role in current discussions of war, have so far been neglected, or have yet to be created.

DICTIONARY OF WAR is about polemics in various respects: It seeks confrontation with a reality that is characterised by the concealment of power relations the more that one talks about war and peace. But it is also about finding out to what extent war may function as an “analyzer of power relations” that constitutes current changes.

Changes that have been producing ever new wordings: The new war, post-modern war, global war, immanent war – all sorts of labels that indicate that the juridical model of sovereignty would seem to have had its day: war as an armed confrontation between sovereign nation states is a thing of the past.

While this still refers to conflict between different interest groups that are defined by the degree of their intensity and extension, unlike in the past war serves to regulate rather than destroy or renew existing power relations.

War is a “constitutive form of a new order” that no longer knows an inside or outside, that not only destroys but also produces life. In this new world order there is no difference between war and non-war: war is perpetual and everywhere.

So like so many other things these days, war too seems to be subject to a de- and re-regulation process that radically challenges old certainties and replaces them with new premises that shall not be questioned. DICTIONARY OF WAR sets out to oppose war and, at the same time, calls for “desertion” from a war of words in which facts are created with such force in their communication and propaganda that they can no longer be challenged.

The aim of DICTIONARY OF WAR is to make the creation or revaluation of concepts transparent into more or less open processes in which we can and need to intervene; at the same time, the aim is to develop models that redefine the creation of concepts on the basis not of interdisciplinary but rather undisciplined, not co-operative but rather collaborative processes.

“At least, when we create concepts, we are doing something.” The idea of DICTIONARY OF WAR, then, begins by referring to the theory of creating concepts proposed by Deleuze and Guattari: Concepts must be invented, created, produced; concepts refer to problems without which they would be meaningless. It is not about definitions, anecdotes, original opinions or entertainment, but rather about developing the tools with which to attain new ideas.

The concepts are created by conceptual personae, who are not identical to the author, philosopher, artist self, but rather testify to a third person beneath or beside. According to Deleuze and Guattari, “we do not do something by saying it but produce movement by thinking it, through the intermediary of a conceptual persona”.

DICTIONARY OF WAR is not a book in the proper sense. It is not about texts, deadlines or editing but about performativity. The concepts are introduced in alphabetical order by their conceptual personae in twenty-minute presentations.

There are no restrictions with regard to format. DICTIONARY OF WAR will be composed of lectures, choreographies, films, slide shows, readings or whatever format authors, actors, organisers and conceptual personae choose to use.

Finally, DICTIONARY OF WAR may well be a kind of war machine itself: the concepts are not intended to be deployed as means of control that regulate meanings, but which rather activate developments and processes and evoke events. “To draw speech to oneself and bring something incomprehensible into the world.” (Kleist)


short text : Walls & Lines by Franziska Windisch


Franziska Windisch
Walls  & Lines
Klanginstallation
Verborgene Räume / Scheibenmagazin

Dörfer, deren Status nicht anerkannt ist, oder die evakuiert und zerstört wurden: die unhörbaren Vibrationen in den Wänden der Häuser oder in den Überresten wurden aufgenommen und als Klnagmaterial in einer Installation deren kartographischen Repräsentation gegenüber gestellt.


CfPP / Bringt eure Bücher – Aktion by thonbeuse (extended)


“Im Frühjahr 1933 wurde bereits mit der sogenannten “Aktion wider den undeutschen Geist” begonnen, die vor allem der Deutschen Studentenschaft (DST) durchgeführt wurde. Den vorläufigen Höhepunkt dieser Aktionen bildeten die sogenannten Büpcherverbrennungen auf öffentlichen Plätzen in der Nacht vom 10. auf den 11. Mai 1933.

Diese sichtbaren Symbole einer repressiven Kulturpolitik waren ein inszenatorisches, ein mediales Mittel um einen langanhaltenden und durchgreifenden Prozess zur Umstrukturierung der Bibliotheken, der Universitäten, der Kulturinstitutionen und anderer Bildungseinrichtungen durchzuführen.

Die KünstlerInnen Christine S. Thon und Lars H. Beuse (Duo “thonbeuse”) möchten sich durch ein lebendiges und prozesshaft angelegtes Kunstereignis mit diesen historischen Begebenheiten beschäftigen, und allen interessierten Menschen die Gelegenheit geben Teil dieses Erinnerungsprozesses zu werden, aber auch zu erforschen in wie weit diese Entwicklungen bis heute nachwirken. In der Zeit vom 29.09.- 02.10.2009 zwischen 14:00 und 18:00 Uhr nehmen die KünstlerInnen deshalb an ihrer “BüchersammelstellePhilosophikum, Uni Köln, im Bereich des Haupeingangs, Bücher von Autoren die sich auf der sogenannten “Liste I Schöne Literatur” befanden entgegen. Diese Liste liegt an der “Büchersammelstelle” aus.

Die Bücher werdern in einem Karteikartenkasten erfasst. SpenderIn und die sonstigen Daten des Buches werden aufgenommen. Zwischen dem 16. und 18. Oktober 2009 finden in der ehemaliegen NS – “Ordensburg” Vogelsang, dem heutigen vogelsang ip künstlerische Interventionen statt – Student/innen der Kunsthochschule für Medien, Köln präsentieren eine künstlerische Erkundung rund um die Architektur der ehemaliegen NS-“Ordensburg” Vogelsang/Eifel.

Im Rahmen der Vogelsang Interventionen 2009 möchten “thonbeuse” die Bücher in ihre multimediale Performance/Skulptur :;asche:; integrieren, nachdem sie von Köln nach vogelsang ip transportiert wurden. ”

live online http://www.thonbeuse.com/livesurveillance.html

Wegen des positiven Feedbacks werden thonbeuse weiterhin Bücher (bis zum 29.09.2010) von “Liste 1 Schöne Literatur” entgegennehmen.
Alle, die Bücher von diese Liste spenden möchten, können diese an folgender Annahmestelle abgeben:

Institut für Linguistik
Meister-Eckhard-Straße 7
5. Stock
(bitte klingeln)
oder in die Annahmebox vor der Tür legen.

Dokumentation der Aktion unter http://www.thonbeuse.com/reaction-bringt-eure-becher.html


short text : not kosovo by Artur Holling


Artur Holling:
not kosovo
reaktive Videoinstallation

Burgschänke / Kaminraum

Wollseifen als Stätte der praktizierten Geschichtsschreibung und –verdrängung: Vertreibung der Bewohner, Areal für Kriegs-Spiel (bezeichnenderweise nach dem 2. Weltkrieg), Kriegerische Nutz-Architektur, sogar Neubauten, nachdem die ehemaligen Gebäude weggeschossen waren, architektonische Symbolik des Balkankriegs.
Die Installation ist nicht Ersatz für den Ort selbst und soll nicht den Eindruck einer Dokumentation erwecken. Im Gegenteil fordert sie dazu auf, den Ort selbst aufzusuchen.


CfPP / The Vogelsang Intervention / State of the Art / 09-09-02


Florian Egermann “Sketch” (WT)

The actual list of partecipants:
01 Aino Korvensyrjä (ruiniert in transit tour)
02 Artur Holling (not kosovo)
03 Auriel Reich (RE-COLLECTOR of SOUND)
04 Christine Thon & Lars Beuse (:ASCHE:)
05 Daniel Ansorge (1944)
06 Eva & Artur Holling (Infostand – vogelsang i:i)
07 EvaMaria Schaller (seelenraub)
08 Florian Egermann (Ortscheit)
09 Franziska Windisch (Walls & Lines)
10 Irena Wolf (Grenzlinien)
11 JiHuyn Park (Rec)
12 Nicolas Pelzer (Junker Schlaf)
13 officinevida (LESS)
14 Peter Beyer (Living in High Definition)
15 Roshy Zangeneh (Integration)
16 Theresa Krause (Zone für Freie Kommunikation)

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Education: School for Supermen


On dark days in Germany’s Rhineland the fog boils off the cold, black lake waters of the Urftstausee, rolls upward to shroud in Wagnerian vagueness and grandeur a vast modern castle of reinforced concrete and brownstone that clings to the mountainside above. The castle is Ordensburg-Vogelsang, one of several such “Fortresses of the New Order” built in the 1930s. There, in well-equipped classrooms, comfortable dormitories, a “Tower of Wisdom” in which Hitler once planned to enshrine a sequel to Mein Kampf, the Nazi elite trained the future rulers of Germany and, they hoped, of the world.
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