Low Orbit Ion Cannon with Hivemind (LOIC)

In the last few days a new phenomenon has occurred, technology has met the needs of the individual to take direct political action in a new and powerful way. Take one look at @op_payback #payback @anonops #anonops @anon_operations or any combination of them on twitter and the sheer extent of activity is amazing, better still follow it all by going to http://collecta.com/#q=%23payback
Until this week any civil society with a bone to pick, or a cause to stand for has had to march to protest, send letters or risk unpredictable direct action. Our democracies have grown up relying on the powerlessness of individuals, setting the hoops for organised opposition to jump through, ensuring that the debate is always in the dialect of the state, expressed in ways that don't disrupt the status quo too much.
The Wikileaks issue is on the face of it all about freedom of information, the response by governments has been the usual mix of denial, coercion, diplomatic negotiation and financial sanction. Whether or not this is the right course of action is debatable, as is the validity of the accusations levelled at Julian Assange himself, but these debates have almost become irrelevant compared to the big story, one that possibly rivals the Dreyfus affair or Watergate in magnitude. I use those two examples because they share common ground with the events of December 2010 'DDos Day'.
By an ironic twist we see a press that is frightened for its role amidst online competition, actually mis-reporting events that concern its most sacred mantra 'freedom of the press' (see Watergate). At the same time we have governments that have failed to grasp the changes that an online society will increasingly demand from it and we watch them seriously underestimate the sophistication of public opinion regarding the matter.
Until now governments could afford to wage a slow campaign to restore public opinion, using a discrediting strategy and eroding groundswell support until it was negligible, a lumbering technique, but a time honoured one, that ensures success provided the peeved masses have no immediate access to power. The problem governments face today is that the masses can move far, far quicker than the machines of state can handle, and they have found a unique, rich source of power, simple immediate communication.
So it is that a small group of people, familiar with the internet, made an existing online tool available, LOIC (Low Orbital Ion Cannon) is an open source software application that allows for streams of data to be focused at a chosen host. At some point a control was added (called Hivemind), that allows the choice of host, or target, to be got from an external source.
Both of these are legitimate applications, a communication tool, and a peer to peer networking tool, combined they make a basic tool for running DDos (Distributed Denial of service) attacks, that can be told its target from the internet.
The effect of this synthesis of two existing mainstream applications was that anyone capable of installing microsoft word on their computer, could use it, and the worlds first app of civil disobedience was born.
With the Wikileaks issue being such a buzz on the social networks it didn't take long for news to spread that anyone could, if they wished, protest directly by uploading and installing "LOIC with Hivemind". By December the 9th 300,000 people had done so.
At this stage The Press were still reporting that a small group of hackers were causing trouble, when in effect it was a sizeable section of the public that were responsible for the sustained attacks on Paypal, MasterCard etc. Targets that were popularly identified with exerting pressure on Wikileaks to stop.
It is useful for the villains to be a 'small' group of nasty 'hackers' because they can be marginalised and hunted, in the hope that the true extent of public dissatisfaction with their governments behaviour doesn't become widely known. However the mechanism and the tool is now out there, it will become more sophisticated as time progresses, and it will probably become a mainstream method of protest. I can see it now, version 8 of Microsoft Riot. Whatever the outcome, one thing is certain, the time when governments held the key to democratic voice is passing, the sooner they recognise that they have to put their money where their mouth is, and use the internet as a truly democratic tool, the better.
There is a certain poetic in this whole affair; the freedom of information that Wikileaks is championing, and most states are attempting to silence, is the same medium that is growing exponentially with social networks on the web, and has enabled this form of civil disobedience ~ ironically, it is data itself, that is being used as a projectile to cripple the targets.
The trusted weapon of governments, financial sanctions, is precisely the same weapon that the protesters have used, but there is one big difference, none of those protesting are financial entities, nor is Wikileaks, they have far less to lose than the businesses and governments that are facing the disapproval of the public.

My sculptures from the sky | flypast on Google Earth

Quite a lot of the sculptures that I have made over the years are large enough to be visible from Google earth.

While trying to get these screengrabs of them from above I noticed that you can make flypast tours with Google Earth, so I made one, of all of my work that can be seen from Google Earth (or Google maps).
Have a lightning tour if you fancy...
Just open this file in Google Earth.
Click here to download:
David Parfitt's sculptures.kmz (4 KB)
Alternatively you can click this link to see them in Google Maps, but you won't get the flypast tour, and the images are grotty.

House of the Vernacular – Missing it already

The people that work behind the scenes making an exhibition seldom get to say anything about the experience, so with Fabrica’s new emphasis on giving all aspects of its operations a voice, I thought it would be worth marking the deconstruction of the show with a post. 
I am often involved with the installation of exhibitions at Fabrica and am accustomed to the amazingly friendly, family-like atmosphere of the place. So much so that I sometimes wonder if the work done before and after a show opens plays a major part in the close knit nature of the place.
The design of the exhibition House of Vernacular, from the beginning was a collaborative work in its own right, Martin Parr and the directors of Fabrica fleshed out the look and feel of the ‘environment’ as though it were an installation. Colin Holden Associates were brought on-board at an early stage to allow the practicalities of the build to influence the design constructively, and the many elements of each room and location were the result of playful experimentation that everyone felt they had an opportunity to influence. 
This approach requires trust and a certainty that the broad experience of those involved is pulling together – luckily Fabrica, Colin Holden and the many freelancers working on the show have a collective expertise that is formidable, add to this the sheer optimistic enthusiasm of the volunteers and it was never in doubt that this exhibition would be something special.
It was really gratifying to notice that the public felt the need to compliment the setting for the exhibition as much as the images that were exhibited. At the opening I got a bit concerned, from all the comments that I heard, that the setting was slightly overshadowing the show, but openings are strange things, and it was good to walk around the exhibition the next day and realise that the show and its environment worked brilliantly.
And so it became time to remove Bogota, Brazil, Germany and all the other places that had become integral parts of Fabrica, it had all fitted so well, I was not sure that I could even imagine what Fabrica’s single massive space looked like anymore.  I felt a bit sad about taking away the spaces that I had come to associate with a particular group of people at a particular time – A really enjoyable 2 months.
I wonder how many other galleries can say that their process is so well integrated across all levels of involvement, that a volunteer invigilator can also have been involved in the design, construction, and removal of the actual work, not as a special experiment in worker relations but as a matter of course? In my experience, many galleries waste this opportunity by simply ‘getting in the builders’ and for a few days everyone stays out of the way.
It took 3 days to dissolve the thing, and just like the build, it was a delightful bonding experience with lots of laughter and one memorable quote that just about sums it up
“Creativity is alright but it’s not as much fun as demolition”.
Many thanks to everyone involved.

Digital culture, monetisation and value « Culture, learning & innovation

Digital culture, monetisation and value

This post is a response to a lively thread on the Museums Computer Group e-list about the Cost of Sales, which was sparked by a Twitter chat about whether museums should fully assess the cost of running an image sales operation. When it transferred to an email discussion it became much more philosophical and political, especially after Nick Poole raised a challenge from an international financier about the lack of clear monetary value  in digitising cultural heritage. Now, my thoughts on the discussion may seem so philosophical and political that I’m not even posting it on the MCG list but on my blog.
I agree with Nick on the need to talk with financiers, to appreciate their perspective and learn from business. This may seem very unlike me, but I have partly been stirred to say this by his rousing keynote at the UK Museums and the Web conference last Friday. My take is that we need to proceed towards a more business-like mode in a way that is profoundly ethical and ecological, to the extent that we need to lead bankers and business to see value very differently, and that by doing so we can help change the world.
I’m not an economist or a business specialist, but an educationalist above all, so I maybe have no right to contribute to a debate about monetisation but I want to raise the issue of rapidly changing relevances and the importance of shifting our frames of reference. The key to advocating and generating value is establishing, and stretching, contextual relevance. I think digital culture & heritage people must shift from being technologists who are servicing the dominant modes of value, into leaders capable of transforming their organisations. As a sector we can then join the vanguard alongside the Commons and Social Enterprise movements, where technology enables an opening of access to  culture, for widespread change.  (I say ‘vanguard’ but it’s worth remembering that the earliest dated printed book, the Buddhist Diamond Sutra, was marked as for free universal distribution nearly 1200 years ago.)
Never have I heard this subject broached so well - a great deal of food for thought.
Thanks to Bridget McKenzie for telling me about it.