PENUMBRA from John 0Shea on Vimeo.

Performance, sketch and demonstration of concept – interpreting and re-presenting law using the construct of traditional theatrical lighting.

Originally performed as part of ‘REVOLUTIONS IN FORM’ @ The Bluecoat Art Centre, Liverpool on Friday 18th June 2010.

lovingly documented by: Sam Meech

Thanks to Nathan Jones, Bluecoat poet in residence, for the invitation.

Designed as part of my response to Newcastle City Council’s ‘Interpretive Signage’ brief, which aimed at taking heritage information into the digital realm, the ‘Information Free Zone’ raises the questions “How much information do we need?” & “Where exactly can we go to get away from it?”

An ‘Information Free Zone’ would restrict “the use of the electromagnetic spectrum for wireless telegraphy (to include WIFI, SMS, Bluetooth etc)” and I proposed that the zone be applied to an already peaceful space next to the City’s Cathedral – Amen Corner – and went ahead and notified the public of this ominous change:

If the ‘Information Free Zone’ were to be applied in the UK public sphere, an important question would need to be addressed:

• Does the zone impose an ‘information embargo’ through the use of electromagnetic signal jamming technology?
• Or is the zone subscribed to by citizens (in a similar way to the quiet coach on a train.)

(A technologically imposed ‘Infromation Free Zone’ would likely be in contravention of the 2006 Wireless Telegraphy Act.)

Early responses from the public were mixed – here are some examples:

• I was shocked to see it!
• It is needed in buses and in parks
• It would be a pain
• I can’t see how it’s possible
• Is it not a breach of human rights?
• Everywhere should have one!
• We’ll need a few…
• I go fishing to switch off!

Text extract from “PENUMBRA” – performance/demonstration of concept at Liverpool’s Bluecoat Art Centre on Friday 18th June 2010.  More information relating to the event: ‘REVOLUTIONS IN FORM’

Progress…

1.  Arduino —> Programmable Display

I used this LCD display:
http://www.coolcomponents.co.uk/catalog/product_info.php?cPath=45_71&products_id=151

And this tutorial helped a lot: http://www.arduinoprojects.com/node/13

Problems:

* need to make secure connection to LCD

* need to control contrast of LCD

Code already called the LiquidCrystal library at setup and interfaced seven of the arduino digital pins to the LCD:

// include the library code:
#include <LiquidCrystal.h>
// initialize the library with the numbers of the interface pins
LiquidCrystal lcd(2, 3, 4, 9, 10, 11, 12);

I put the wire controlling the LCDs contrast (pin 3 on the datasheet excerpt below) into the arduino digital pin 5:

// contrast variable to digital pin 5
const int contrastPin = 5;

And then established the best contrast level for this 16×2 LCD using PWM (which runs from 0-255) via analogWrite – 118 seemed a good value:

//PWM value
analogWrite(contrastPin, 118);
//info http://arduino.cc/en/Tutorial/PWM

* need to work with Arduino Nano

* http://www.arduino.cc/en/Main/ArduinoBoardNano
* http://www.ladyada.net/learn/lcd/charlcd.html
* http://www.maplin.co.uk/Module.aspx?ModuleNo=1500

2. Programme —> allow switching of display

(Demo with tilt sensor shows principle)

3. Transmit / Receive Infra-Red Signal

bought these IR components:

http://www.maplin.co.uk/Module.aspx?ModuleNo=10379#features

sought advice here:

http://tthheessiiss.wordpress.com/2009/08/05/dirt-cheap-wireless/
http://www.arduino.cc/cgi-bin/yabb2/YaBB.pl?num=1235097384

got stuck!

tried this instead:
http://www.instructables.com/id/How-to-make-an-arduino-IR-link/

but also does not seem to work :-(

4.  (received vibration motor – have not yet integrated into programme)

5.  Cut out a simple housing on the laser cutter to demo the concept and give an example of layout:

IR transmitter and receiver mounted above and below electronic display.  (I added a button to the bottom right which would allow the device to be triggered ‘manually’ by the wearer themselves.)*

*added later – in retrospect, the last minute addition of a ‘manual’ button, allowing the wearer to trigger the device themselves is totally unnecessary and undermines the concept of the device.

In past times, fortifications and great walls stood as visible public testimony to the need for constant vigilance against enemy attack.  Newcastle’s Black Gate and Castle Keep have, throughout history, been the site of various sieges and, notably, two of these took place during construction works whilst the guard was down.   The Cathedral has also played a strategic role, employing human shields to defend the city:

Tradition has it that during the siege of Newcastle in 1644, when the Scots army, under the Earl of Leven, threatened to blow up the church with a cannon, the Major, Sir John Marley, put his Scottish prisoners in the lantern tower and thus saved it from destruction.

Local political stability is these days more secure, and the ‘New-Castle’, like all technology it seems, has fallen into obsolescence, to be regarded with nostalgia.  Any message of ‘constant vigilance’ is much better conveyed today ‘virally’ through news headlines and train station announcements, so I ask myself: “What NOW is an appropriate use of this kind of ‘public realm’?”

My thoughts trace back to a presentation given by the artist Krzysztof Wodiczko during 2009’s inaugural ANDfestival: “MACHINE TO FIRE THE TRUTH”…

For the piece ‘War Veteran Vehicle,’ Krzysztof Wodiczko transformed a military Land Rover, replacing what would normally be an onboard weaponry system (missile launcher, radar device etc.) with his high powered ‘projection battlestation’ – a video projector and public address system which visually and acoustically blasted words and voices of traumatised soldiers against the blind and deaf walls of the city “…as if a continuation of war.”

Wodiczko worked with UK servicemen and women and their families, recording discussions about the experience after returning from a warzone. He described this process as very difficult, partly because overwhelming experiences can prevent people from speaking easily, but also, because the M.O.D. were unsupportive. One of the veterans, Rob , talked about his own internal self-censorship – “something that the army puts into you (like a chip) which dictates “you can’t say this” and “you can’t say that.”

Soldiers today are trained like machines to relish the battle – however, the training does not extend to ‘un-training’ and a return to civilian life.  Soldiers are trained to control their emotion (‘opening up’ is a sign of weakness) but every so often one of these machines goes wrong: former soldiers make up nearly one-tenth of the UK prison population.*

“the city speaks in what it says and in what it does not say” – Wodiczko

Aggressively situating these citizen testimonies in public space is an attempt to break through the wall of silence.  Wodiczko explained that the action must be aggressive since we are already relentlessly bombarded by advertising, information and news – resulting in our typical symptom of public experience: ‘numbness.’

The ‘War Veteran Vehicle’ speaks loudly and eloquently on behalf of those who cannot speak, and suggests an alternative democratic role for our public space: “the city as mouthpiece for the people”.  Wodiczko located his work in a historic trajectory, citing an obscure ancient Greek term – parasia – meaning “a special right of free, frank and open, fearless speaking in public space.” This notion encapsulates an obligation and duty to critique authority, denounce what is wrong and shake up public consciousness.  The “War Veteran Vehicle” acts as ‘parasiasta’ – bringing to shoppers and heritage visitors voices returned from the far and distant conflicts which are granting our perception of security.

*source Guardian

Watch the whole of Krzysztof Wodiczko’s “MACHINE TO FIRE THE TRUTH” presentation at FACT.tv

Back in November I had a look at this work, DEATH COUNTER by Santiago Sierra, which was installed on the front of Hiscox Insurance HQ in central London, for the course of 2009.

The giant LED, reminiscent of the digital clocks and information boards seen throughout most major cities, tallies (in real-time) the total number of human deaths worldwide, starting from zero at 00:00:00 on the 1st of January 2009.

In terms of ‘visualising data,’ there is a simple reciprocal relationship between a binary conception of life OR death and the counter-intuitive representation of these concepts as ‘one’ (death) and ‘zero’ (life), accumulating on the huge display.  Despite the potentially emotive subject matter, and the high value placed on individual human lives, the presentation is unspectacular in the extreme:

business as usual…

One quite remarkable aspect of the Sierra work, is the way in which it was funded – through a legal contract. The work was loaned to Hiscox for the duration of the exhibition, in exchange for a €150,000 life insurance policy, which would be payable in the event of the artists death.

Through a contextual balancing of an art-market value and an insurance value of the artists life, the work highlights and makes explicit the core component of the insurance industry – careful translation of the perceived, constant, risk of catastrophe into bankable capital.*

* As well as providing insurance for major banks such as Lloyds of London, Bermuda based Hiscox, provide cover in the event of kidnapping, hurricane and financial disasters. They posted pre-tax profits of £320.6m for 2009.

London Evening Standard (9/11/2009) / Insurance Daily

My Digital Media Research Masters Final Project will require a theoretical understanding of the alliances and interactions between law and digital technologies and it is my hope that this learning can be aided through discussion with both the designers, programmers and theorists resident in Culture Lab and also legal academics across at the Law School.

Tomorrow, at 2pm, I’ll be making a presentation to a PHD Research group at Newcastle Law School to introduce my research and thinking regarding areas where technology, art and law appear to intersect:

Title: Interfacing with Law

John O’Shea is working on an AHRC Research Project at Newcastle University’s Culture Lab proposing and prototyping new kinds of technological ‘interface’ between citizen and law.
The convergence of digital-media collaboration tools (such as wikis), G.P.S. enabled mobile devices, and ubiquitous social networking technologies present not only new challenges for legislation but also new possibilities for governments, corporations, communities and citizens to interact with legal frameworks.
John will present examples from his current avenues of research and open up a discussion regarding the implications of current technologies for citizens and the legal profession.

As well as discussing current examples of “Web 2.0″ technologically enabled initiatives between citizens, government and legislation I would also like to direct some focus onto instances where the two streams – technology and law  – seem to merge and hybridise instigating problematic scenarios brought about neither by citizen nor government BUT instead simply through the advancement and free proliferation of new technologies.

Real practical examples of these unanticipated pairings are often evidenced in the tabloid media:

Top: Recorded data in G.P.S. systems (potential evidence of wrong-doing) causing headaches for businesses and lawyers.
Below: Low unit cost of fingerprint scanners is enabling new, non governmental, identification schemes.
Bottom: To counter thieves, designers technologically ensure that mobile phone owners keep their device on their person at all times (again using G.P.S.)

In each of the three story examples, technological innovation is portrayed in an unswervingly positive light and, although each of these developments could have very obvious implications for the privacy of individuals involved, these concerns are not voiced.

In his ISEA2009 keynote, Clive Van Heerden of the Phillips Technology ‘Design Probes’ division discussed these kind of throwaway news articles and used the phrase ‘weak signals’ to liken them to a kind of cultural indicator.

This idea has parity with one of Marshall Mcluhan’s 1969 conceptions of the role of art and artists in relation to technology:

I think of art, at its most significant as a DEW line, a DISTANT EARLY WARNING system that can always be relied on to tell the old culture what is beginning to happen to it.

More info regarding DISTANT EARLY WARNING at this excellent site HERE!

My thoughts have returned to the unusual Prenzlauer Berg gravestone and I have decided to make a model.  The black outline will be cut from leftover acrylic plastic in the workshop and the design element (in red above) will be engraved (is engraved the right word – sounds quite grand -  anyway, it will be cut also but not all of the way through.)

Having already made an approximation of the spirograph design I have worked with Processing’s bezier() function to make an outline shape similar to that of the original stone.  It took some time to understand how to programme the curves but once the bezier principle is understood it is actually very simple.  Basically, the curve is constructed through combining both sets of co-ordinates for the construction lines (in red below).

Click for sketch and code.

PDF. here also. (any questions please add comment.)

(this instance of DIY gravestone manufacturing may or may not have been inspired by this Home Office video designed to help young people with everyday problems…)

• a manmade laser rainbow across the sky
• ominous droning from the bell tower
• mass gathering outside of the House of World Cultures

Price and Value of Cultural Work – Session:

Liquid Democracies – Discussion:

• Steve Lambert – EYEBEAM
• Matteo Pasquinelli – Digital Neofeudalism

What is Futurity Now?

(insert blog post here!)

Rainbow on 12seconds.tv

Below are links to un-edited wiki notes on various sessions:

Wed 3rd Feb 2009

• Price and Value of Cultural Work
• Basis of Free Culture

I presented a working prototype for my internal assessment at Culture Lab on the 9th of December 2009, where I used the device in conjunction with an arduino board which was relaying the analog information to MAXmsp in order to trigger and control sample audio files.

Thoughts on interface:

Aspects of the Mk 1 hardware are not ideal.  The prototype device is not using a truly ‘continuous’ potentiometer (if such a thing were to exist) – it is using a standard potentiometer which has been butchered and hacked to go all of the way round. The problem is that this leaves a gap in the turn (the resistive element inside is ‘c’ shaped rather than a continuous ‘o’) and as a result of trying to work with this, the principles of code for the current Max patch are heavily compromised.

The demo MAX patch is very buggy and only worked intermittently during the presentation – it is clear that it needs much more rigorous development.

• For a Mk 2 it would be highly desirable to find a better solution than the modified potentiometer for sending ‘full twist’ analogue data to arduino.
• A new MAX patch could then be developed which uses ‘clean’ change in acceleration data rather than periodically polling for difference in values  (which is the clumbsy way the demo ‘worked’)

Thoughts on concept:

During the presentation I was asked ‘why exactly THIS twist?’ and ‘why THIS outcome?’

The action of twisting a pen or pencil in the reel of a cassette tape is something that the majority of the adult population will at some time have done – regardless of technological confidence.  The ‘twisting action’ is the result of some kind of inate human inventiveness which arises in an attempt to fix the tape.

I had begun working with this simple twist because the action is very satisfying, and I wanted to see what kinds of things could be done with the resulting data output that might have some kind of ‘intuitive’ relevance to the cultural associations of the object and so, conceptually speaking ‘feedback’ or echo…

This approach relates to aspects of our recent theoretical study where we considered J. J. Gibson’s ‘Theory of Affordances’ (1977. pp 67-82) in the context of designing for interaction.  Early in the article Gibson, talking about the origin of his theory quotes from ‘Principles of Gestalt Psychology’ (1935, Koffka.)

Each thing says what it is…

…the handle “wants to be grasped” and things “tell us what to do with them

Later though, in a footnote, Gibson warns about making naive assumptions about the simple consequences of our interaction:

THINGS THAT LOOK LIKE WHAT THEY ARE

If the affordances of a thing are perceived correctly, we say that it looks like what it is.  But we must, of course, learn to see what things really are – for example, that the innocent-looking leaf is really a nettle or that the helpful-sounding politician is really a demagogue.  And this can be very difficult.

Strategy:

It is very interesting to work simply from this one ‘action’ and to try and see how much ‘resolution’ there is within it.  In order to make a successful Mk 2 ’simple twisting interface’ I will take the following steps:

1. use bourns continuous potentiometer to make MAX patch work ‘properly’ for demonstration.  This potentiometer allows 10 full turns (based on an internal spiral) so this will allow full development of the patch – key is that I understand how to calibrate MAX and control samples using the device.
2. Make MAX patch work with Rotary Encoder (Encoder to Arduino – how? then Arduino to MAX – filter prior to debugged patch?)
3. Make processing piece using rotary encoder - Arduino to Processing-
4. Do something interesting!

Finally

What might be  interesting outcomes if this were to be a kind of instrument for triggering music tracks, for instance, rather than a mere demonstration of principle? (and art object?)

It might be interesting if:

• initial turning ie. too slow, too fast, speeding up corresponded to audible experience (akin to ’scrubbing’ the playhead)
• turning at a consistent speed for a set period (eg. 5 seconds) allowed the track to take over and play itself
• twisting fast toggled thru available tracks (in this way, more than one track could be played at a time and tracks could be cued using the scrubbing action.)