fromCONCENTRATE

Invented in 1994 and very popular in Japan for ages, QR codes* are increasingly being adopted in the UK by cultural institutions and corporate entities alike, signposting participants/consumers to additional ‘digital content’ accessed there and then on their mobile phone (typically a website or application providing further information).

QR codes were originally a tool devised for global logistics – the primary function of these markers is to reduce unique artifacts in ‘real space’ to mere place-holders for a meta-data doppleganger within a digital database.

I happen to think that QR Codes might be a rather useful thing, by the way, but I’m also interested in how such signs might be subverted or hi-jacked to tell alternative stories.

I thought that it might be interesting to use these codes (which are free of licence) and try to create an interesting poetic and conceptual feed-back loop for unsuspecting users:

Scanning the QR code below…

…takes you to a single page website (demo here.)

I made stickers ov the code…

…with the intention that these will be stuck over existing corporate and cultural portals wherever they may be found.

The stickers intefere with user-requests for more information and offer a re-direction service to the immediate ‘now’.

The reassuring ‘you are here’ red dot – typically a feature of tourist maps – is recontextualised as a kind of confounded statement; “but you are here?” “you don’t need anything else” “this is enough.”

I hope that the stickers can create some interesting temporary disruptions into otherwise smooth transitions away from our present moment.

You can download the template for those here: QRtemplatefinal.pdf

(use Matt White Waterproof Labels in laser printer.)

*QR CODES: Davey Smith wrote various posts about them/I’ve mentioned some uses of QR codes previously over here /and if you’re not at all sure what I’m talking about take a look at the the wikipedia entry /or take a look at a can of Pepsi!

Developing my MMME project proposal – I’m wondering what kinds of information and experience are specific to this site and cannot be found elsewhere?  What aspects are important, yet hidden, and need to be interpreted for the visitor?

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

In considering gesture, interaction, sound and public space intervention the organ grinder (and his monkey) are springing to mind…

The wikipedia entry in this case is really excellent and says more than I could say – some highlights:

They apparently were not interested in keeping their instrument in tune or cranking at a rate suited to the music which was “programmed” in their barrel organ.

Many cities in the United Kingdom had ordinances prohibiting organ grinders. The authorities often encouraged policemen to treat the grinders as beggars or public nuisances.

the disappearance of organ grinders from European streets was in large part due to the early application of national and international Copyright laws.

(Image from Wikimedia Commons.)

Huddersfield St.Patrick’s Day Parade

town centre – public space – collective memory – heritage – temporality – shared experience – crowds – the Parade! – What a day!

Parade Head Steward, Ginger McCullogh and Huddersfield Town Crier, Victor Watson during Huddersfield’s tenth St. Patrick’s Day Parade on Sunday 14th March 2010.

Abandon Normal Devices commissioned me to conduct an experiment at FACT this week, based on my “Message equals Medium” photographic archive of text messages.  The result was a subtle intervention into the Btween09 “bells and whistles” new-tech / social-media / business conference.

The idea was, that the work should stimulate discussion around the ‘human-face’ of technology and act as a trailblazer for September’s inaugural ANDfestival in Liverpool.

Inadvertently  :-) the work was actually interpreted as a REAL WORLD model for a NEW TECH business – uh-oh!  (see vid below…)

…and power and co-ersion and compliance”

- Presentation within FACT’s “Climate for Change” Un-Conference.  The presentation can be watched in full at on FACT TV

Question: “Who is happy with the fact that their Police Force is operating in a subversive way with “Special Powers?”
(image credit: Andy Miah )