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.

Curated



I am currently working on a project with Longhill School in Brighton that seeks to explore concepts of curatorship and presentation within schools. But that is just the tip of the iceberg, what underlies this project is a realisation of institutions as unconsidered psycho-geographies, where assumptions of environment have gone unquestioned for a very long time, and conditions appear to be based on old, punitive moralities.

Watch this space for a fuller explanation, and an ongoing documentation.

To kick things off we have converted all the common ways in the school into a gallery space - now we are running a limited curation exercise (intriguing in itself as a subject that is not normally found in schools). The Image above is one of hundreds that have been trawled for critique and possible inclusion in the project.

The Project runs in partnership with: L.C.P. Europe ~ Fabrica Gallery ~ Creative Partnerships, and of course Longhill High School.

Real time search

On Collecta, Wowd and OneRiot.
I began using Google while it was a research project at Stanford in 97, and It was obvious then that it was the best thing; considering that 'Ask Jeeves and the ad-ridden 'Yahoo' was the opposition, there was no contest. It is now bigger than god, and about as annoying.
These days I have a new prefered search engine - one that is as appropriate to the social web as google was to web1. It is likely to become the next best thing.
Collecta is a real time search engine, it takes search phrases and tells you who has just posted something about those phrases. notice the plural, it works like a ticker updating in real time several different phrases (that you have entered) in tabs. It can be set to search blogs, twitter, facebook, video streams and most web2 platforms.
You'd better start using it. Collecta is here: http://collecta.com/

There is a competitor to Collecta, called Wowd - it does pretty much the same thing, but makes what is in my opinion a foolish mistake, it tries to categorise your interests under headings like "gaming", "health" and "entertainment". built in obsolescence I'd call it, when one persons entertainment is another persons annoyance - I'd put the arts in most of those headings, so lets make our own minds up.
Wowd is here: http://www.wowd.com/



The reason that I wrote this post wasn't so much to advocate these new search tools, but to comment on something that the third realtime initiative OneRiot has made me realise. The web seems to have reached a break-point. The static web as we have known it has been becoming more and more social, active and immediate - It seems to be reaching a critical mass, a point where articles, lists and galleries are becoming archaic, in favour of fluid content, conversation and response.
OneRiot is an indicator of this change, it is an advertising trending system that allows its clients to pitch to realtime trends - If I read that right it spells a whole new approach to the traditional role of the advertising marketeer - it marks a crisis in advertising that is similar to the one that newspapers have met within journalism - the web is no longer a place where you can get a return from shoving a flashing image in someones face, advertisers have got to be as active in realtime engagement as the punters are becoming. The web is now more of a conversation than a library.
OneRiot can be reached here: http://www.oneriot.com/
but the Blog is where the real story is - here: http://blog.oneriot.com/

Want to know more? try wading through this dry tome : http://searchenginewatch.com/3641282

Cork Shop, Brighton. 1982

In 1982 I asked if I could photograph the interior of Beall & Co, the cork shop in Gardner Street, Brighton. The woman running the shop (who I have since found out was called Doris Abrahams) agreed, so I photographed every room (and the back yard) of the place.

These Images are the result. They are scanned from negatives - three rolls of 35mm Ilford XP1 - Taken with a Pentax MEsuper - Higher definition versions are available, or the negs for re-scanning. The Shop was opened in 1883 and it closed for the last time in 1983, one hundred years later. The facade of the shop was removed and is preserved and on view to the public in Brighton Museum.

A Transatlantic Conjouration

One sweet idea amongst many, William Pohida's Ars Magica  re-purposes Cornelius Agrippa, or is it Albertus Magnus. I think the most telling thing about it is the insight it gives into a NY gallery-fly and the very singular way U.S. Americans have of viewing the world.

To be fair though, his horror story 'Work of art rant' could well happen here too. The first comment to his post is a gem.

White Night at Fabrica

oA gothic horror. Drawing blind, Cameras obscura like bats, hanging, worn over the face.
Another extreme drawing event by Jane Sybilla Fordham. 
At Fabrica Gallery, Brighton. 
For La Nuit Blanche (White Night) Brighton, Halloween 2010
Funded by Brighton & Hove City Council
Photographs David Parfitt.

99.9% minority

The visual arts can appear nonsensical to many lay people, and painfully self referential and vacuous even to those who speak the language. It is a problem that, as an artist, I have developed strategies to deal with, most involve being precise about exactly which aspect of the arts I admit to being involved with.
But, truth is, over the years I have developed a genuine loathing for the 'ivory tower' school and many of the academics and institutions that support it. On a bad day this includes anyone who lazily uses words such as 'modern' 'post modern' 'avant guarde' or any mention of 'talent'. 
Don't get me wrong, I am among the first to wade in to a meaty abstract discussion about aesthetics or an attempted deconstruction of an artwork, we are after all a specialised industry, and as such we require a language for internal dialogue, plus a range of paradigms to work within, just like any other.
But the art world so often shoots itself in the foot by pandering to the worst forms of tabloid sensation mongering, often for no more than a brazen attempt to make money, at the expense of its own reputation.
As you can see, this is one of those subjects that gets my goat - So imagine my surprise when by chance I ended up at a series of talks given by two artists and a writer this evening, the speakers inadvertently gave me a bit more insight what I think is wrong with the art establishment.
Each of the three speakers attempted to define the word 'Vernacular', a word that I have always taken to imply a local expression of some kind that is rooted in a specific place, time and context.
So a vernacular architecture might describe building forms that are identifiable as responding to some local condition, tradition or limitation, forms that vary from others found elsewhere.  
If something is dubbed vernacular, I would assume that it is in a highly evolved state, that takes real conditions into account, just as a hand tailored suit (vernacular) is more fitting to the individual than a mass produced one based on some nominal average human ideal. Our vernacular is deeply tied to every aspect of our own local cultural expression
As the evening progressed, and 'vernacular' was struggled with, I realised that there was another more troublesome view of the vernacular, another scheme, that gives a rare insight into just how autistic visual arts thinking can become. 
In this scheme of things you must first assume that 'Art' is at the top of a highly stratified cultural hierarchy, every strata below it must aspire to the values that the 'Arts' have codified, and everyone must look to the arts for cultural guidance.
From this 'Arts' centric perspective the vernacular is nothing but an annoying incongruity in the scheme, an unofficial outbreak of un-sanctioned cultural expression that assaults the 'arts' from outside. 
But the vernacular also presents a dilemma to the 'Arts', which is after all a system that values the unusual, the vernacular is the greatest, perhaps the only, source of refreshing new ideas. 
Think about it for a second, The Renaissance, El Greco, Picasso, Emin, who hasn't imported from the vernacular? 
The vernacular has value precisely because it comes from outside, the 'Arts' needs the vernacular to grow.
For the 'Arts' to maintain its superiority, the Vernacular must be seen to be a quirky minority that has been rehabilitated into the mainstream. Once assimilated, it can be allowed to exist in it's original context to impart authenticity, but unfortunately its new found ubiquity will mark the end of its local relevance, and another local identity will disappear.
This version of events is surprisingly well adhered to, even by some arts professionals who really ought to know better but have avoided questioning the system that gives them kudos and wealth. These same people, like the rest of us, live in a 99.9 percent vernacular world, yet when it appears before them as professionals, they throw up their arms in surprised delight, like a king discovering mud. 
Is the Arts involved in a project that seeks to normalise and homogenise culture?
As a system the arts operates in a similar way to many multinational corporations, seeking to smooth over inconvenient local conditions and ensure we all receive a uniform global product, that will not vary in quality, regardless of where it is encountered.
Not only does this homogenisation produce art that is global, geographically and contextually uniform, but it also produces art that speaks with a uniform voice, to everyone, whether it makes sense to them or not. It sells a single product line in a voice that is aimed solely at those who can subscribe to its current values, the 'art educated'.
While 'Art' lays claim to being the arbitor of ideas, the precursor of popular taste, the cultural prophet - its often incomprehensible reasoning disenfranchises whole swathes of society from the culture that they actually nourish - the 'arts ignorant' masses, who are well capable of producing their own intelligent vernacular, and were long before art existed.
Of course art is not a centralised organism, there is no 'project', it is composed of the combined self interests of its commentators and practitioners, from which I must admit to have made a living. I have written this because I am increasingly aware that for anybody wishing to be involved in the arts, there is little option but to tow a line that most other industries have identified as unsustainable. The only way to be an artist and to be opposed to globalisation is to become concerned with the local, to become vernacular, to become insignificant. Now I relish that.
-- In the Vernacular Style --
Touching on the aesthetics, status, and politics of the vernacular style, artist, writer, curator and lecturer Stephen Bull, writer and consultant Ted Polhemus, and artist Jonathan Swain explore the significance of this particular aspect of cultural expression from their various perspectives of photography, fashion, and activism as art. 

A new leaf gets turned... Tumblr & Posterous

Tomorrow I start a three day 'writing for the web' course.
So today I have decided to prepare the ground.
Having been online pretty much since the www began, I have lost count of the number of blogs, boards and websites that I have abandoned to their fate. Some, I know still exist, but I have long since lost the ability to access the backend to kill them (shame on you Bianca, and Geocities for that matter too) - I have even tried serving copyright infringement notices to get some of the more ancient, and image damaging, sites removed by hosts that must think I am a troll.
For me it really feels like the perfect time to draw a line under all that has gone before and start with a coherent scheme to organise my content on the web, one that will last for a while at least.
Apart from the unsettling feeling of chaos that all of my subscriptions and memberships leave me with, I have noticed that my attitude to the web has changed recently, thanks largely to facebook.
Before facebook, it was almost unthinkable to be too open about your identity on the web, even though Tim Berners Lee was espousing the semantic web, years ago, for some reason anonymity was seen as being the place to start - perhaps because of the slow uptake of decent spam algorithms.
But now, despite the best efforts of a cautious media, it makes far more sense to be up-front about who you are, in fact with the social web, it is virtually impossible not to be (for dubious exploitative reasons I'm sure). Whats more I have no employer or such like who may disapprove of anything that I care to say or do.
So it seems like a good time to consider an approach that somehow glues together all of the various uses that I have for the web, under a traceable trail of breadcrumbs.
Apart from private spaces like ftp accounts, server spaces, and even business and collaborative sites - I find that I use three main spaces:
A showcase - my static website that acts like a trade brochure.
A sandbox - a place to put thoughts and works in progress and to try stuff out.
A playground - somewhere to explore stuff and make unconsidered off the cuff statements.
The first one is sorted - it is served via Modx from my own server, and is updated manually every now and then.
The difference between the other two is basically the difference between the long form of a blog and a short form, perhaps more like twitter - although twitter has an overhead of involvement that I'm too busy to maintain.
I thought that I had found the perfect answer for the short form in Tumblr - which is an endlessly fascinating, cumulative experience. what it does it does so well - sharing, crossposting, following, being followed - it is the ideal playground and whats more it is a community, so you don't play alone.
So how to make some kind of meaningful link between the playground of Tumblr and the long form of a blog? I had an intuitive feeling that Tumblr must have a way of interacting with a more considered blog, after all it is all about making connections, right? You would have thought, but I have yet to find it, Tumblr is about being eclectic, it encourages you to bring content into it, and then watch it get re-circulated within it's own confines - it is not a two way street, try reposting something to a blog and things get very manual.
And then along came Posterous. when I first noticed it, Posterous was always mentioned as a rival to Tumblr, much like Facebook is to Myspace, it was as if you had to pledge allegiance to one or the other.
Although they may seem to cover similar ground, there is a huge difference in the basic architecture of the two systems - Tumblr is a posting and browsing forum, while Posterous is a tool to post with.
Posterous makes it simple to gather any sort of content and input it, BUT, and here is the difference, it also makes it simple to deliver that content, even repurpose it and deliver it to almost any other site, network, blog, aggregator, you name it.
Here then is the answer, for me at least.
Use tumblr to play, discover and explore.
Use a blog for more considered lengthy stuff
Use Posterous to capture the stuff you want to focus on - and deliver it - to either Tumblr or the blog (maybe even re-work it there) and while you are at it use Tumblr to deliver feeds, content and notices to Fb, flickr, youtube, picassa, the list is endless.
Now all I have to do is tidy up my rather crotchety, confused old blog and find a voice that people want to read.

A bit about blogs.

I have written so many blogs now that I can't remember them all. This one, as with most began with something akin to resolve, hoping to finally make a single repository of the things that I feel moved enough to write about. The reason that this has been a problem for me is that my interests shift like crazy, even though I know that there is a solid thread linking all these things, I am damned if I could pre-empt it enough to make a coherent blog-like body, let alone find a reasonable voice.

I admire many blog keepers, those that write a diary style, with voices so reasonable that you could invite them home, and those who plumb the fast flowing stream of technology to present weird and wonderful novelty. The diarists always seem to be giving generously of their personality and wit, while the diggers appear to be beurocrats, representing the efforts of others. There are many modes of blogging between these poles, the posters of their products who see the web as a shop window, the socialites who regard it as a huge cafe, the outright obscure and the comedians, but as yet I have not found any that resonate with me.

Perhaps, I say to myself, this is a matter of training, those constant voices are essentially writers, the diggers, shopkeepers - whereas my training is all to do with finding an appropriate expression for a given subject or situation. I am happy shifting from film, to print, prose, performance or construction within environments that range from academic to industrial, conceptual, virtual and purely physical. Perhaps I should just get on with it and see what happens. So I will.

If you have written a blog you probably understand the strange impulse to justify yourself in advance. I wonder how many of those paragraphs survive the first year?
Nevertheless it is a strong impulse and one that seems to me to be about confidence and self critique, both things that oddly enough take care of themselves as you go along.