OPEN YOUR EYES TO THE FUTURE ISSUE # 33 | SPRING | 2013
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“Society is yearning for new ideas”
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AN IRONIC TWIST?
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LOVE AND FREEDOM
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A MEMBER BANK IN CALIFORNIA
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IMAGE BY NATEKOECHLEY
LIFESTYLE
Y, ABILITY, AFFORDABILIT ‘THE VERSATILITY, DUR E THEM L IMPACT OF YURTS MAK AND LOW ENVIRONMENTA TO THE MODERN HOMES’ EXCELLENT ALTERNATIVES
SECONDSIGHT 33
YURT LIVING
% ]YVX MW E GMVGYPEV WLIPXIV YWIH F] RSQEHW MR 'IRXVEP %WME E XIRX PMOI WXVYGXYVI XLEX MW FIGSQMRK very popular in the west. There are many companies nowadays manufacturing these structures ERH MRWXEPPMRK XLIQ 1SHIVR ]YVXW LEZI EPP XLI GSQQSHMXMIW [IWXIVR PMJIWX]PI GSQTVMWIW PMOI PEVKI [MRHS[W PSGOMRK HSSVW MRWYPEXIH KPEWW [MRHS[W WSQI IZIR LEZI STIRMRK WO]PMKLXW
Since the 13th century and until today, nomadic tribes in Central Asia use yurts as homes. These ingenious structures are composed of few lightweight pieces able to be set up and down quickly. Once assembled yurts are extremely strong, resistant to wind, rain or snow, making it the perfect home for nomads. The walls of a yurt are made of wood and consist of some crisscrossed framework pieces that unfold like an accordion. The yurts’ roof culminates in a circle with beams spreading down to meet the walls. This circle is usually a hole and is used as a chimney or in modern yurts as a skylight. The composing parts are then tied together from the outside with a tension band that provides the yurt with its enormous strength. Since the structure doesn’t require internal support, all of the internal space of a yurt can be used. Once the structure is assembled, the walls are covered with fabric. A yurt measures around 1.8
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meters high and the low roof makes the space easier to heat. Yurts have a minimal impact on the environment, since they are built on top of a platform instead of a permanent foundation, so they have a small impact on the area they stood on. Also all the materials used to built a yurt are sustainable and recyclable. To set up a yurt is so easy that anyone can do it, they come with a step-by-step installation manual and a free number to call and get your questions answered (at least an American company offers this service). The time spent to install a yurt depends on the place, the weather conditions and the number of people working. The versatility, durability, affordability, and low environmental impact of yurts make them excellent alternatives to the modern homes. With this new world rising maybe we will see it in the next Ikea catalogue.
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DIGITAL
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TRACK TRIPS
2MGSPjW 6I]IW +EPPIKS MW SRI SJ XLI ]SYRK GVIEXSVW of “trackTrips” mobile application which aims to protect people in their taxi rides. It is a monitoring tool for users to register their locations discreetly ERH IEWMP] [LIR XVEZIPPMRK F] XE\M ±-X´W RSX E ½REP solution to eradicate express kidnapping but to QMXMKEXI MX² WE]W 2MGSPjW XLI HIZIPSTIV SJ XLI application. This application differs from others because instead of only acting as a panic button to send warning messages it also registers the taxi by its license plate providing the user with a complete report about the vehicle. These vehicle reports are called “reputations” which are generated either by the positive or negative information that users of this service have uploaded. “The system is designed so that when XLI YWIV XEOIW E XE\M WIVZMGI MX VIGSVHW XLI NSYVRI] through the license plate and the estimated time in which it reaches the destination.” The system not only saves the information to the phone but also in the cloud so if the phone loses
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power or if it is turned off the information doesn’t HMWETTIEV ³XVEGO8VMTW´ [MPP VIUYIWX E GSR½VQEXMSR that the user has arrived safe and sound to the destination. The application asks a secret question which the answer only the user knows and has one simple answer. Certain responses can be typed if the ZMGXMQ MW YRHIV TVIWWYVI -R GEWI XLEX RS GSR½VQEXMSR MW MRWIVXIH ±XVEGO8VMTW² [MPP EGX EW E RSXM½GEXMSR GIRXVEP MRJSVQMRK GSRXEGXW XLEX XLI YWIV LEW HI½RIH before hand, even if the phone is off. ±-J XLI GSR½VQEXMSR MRHMGEXIW WSQIXLMRK MW [VSRK SV WMQTP] MJ XLI ETTPMGEXMSR MW RSX EFPI XS GSR½VQ the arrival at the destination, several contacts will be RSXM½IH ZME XI\X QIWWEKI IQEMP SV HMVIGX QIWWEKI SR Twitter. These contacts can access the Web service to verify when and where the person was going in the taxi to estimate their reaction or to notify the ETTVSTVMEXI EYXLSVMXMIW² 2MGSPjW I\TPEMRW The perfect tool to achieve another level of freedom in cities where violence still prevails.
IMAGE BY FRANCA MENTAL
±XVEGO8VMTW² MW XLI REQI SJ E JVII QSFMPI ETTPMGEXMSR GVIEXIH XS FEXXPI I\TVIWW OMHRETTMRK MR &SKSXE GETMXEP SJ 'SPSQFME
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IMAGE BY SCOTT MOLINEAUX
CITIES
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CITIES
FREE CITIES ‘THE CONCEPT OF FREE CITIES HAS AN INTIMATE RELATION WITH LIBERTARIANISM, POLITICAL PHILOSOPHIES WHICH ADVOCATE SOCIETY WITH A REDUCED STATE OR NO STATE AT ALL, EMPHASIZES FREEDOM, LIBERTY AND VOLUNTARY ASSOCIATION’
Free cities existed in the past, they exist in the present and will most likely exist in the near future. These kinds of cities have been evolving since Middle Ages in the constant search for freedom. It is important to explore disruptive forms of governance and development. Experimenting in order to achieve progress, does not matter if it succeeds or fails. The concept of free cities has an intimate relation with Libertarianism, political philosophies which advocate society with a reduced state or no state at all, emphasizes freedom, liberty and voluntary association. By 2050, the UN estimates that 70 percent of the world population will be living in cities. The free cities
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apologists say that these cities are an answer for the many people with no resources who will move to urban areas and will probably end up in slums. They evoke that free cities can create opportunities for millions of people to access better rules and have safer, healthier, and better lives. EQUALLY Freedom and competition are the fundamentals of free cities. The concept of free cities or charter GMXMIW MW ZIV] ¾I\MFPI LEZMRK SRP] X[S GSVI TVMRGMTPIW the new rules apply only to people who choose to live under them and that these rules will be equally applied to all residents.
In 2011 the Honduran government intended to do “business” with two libertarian start-ups in order to build free cities in the country, with their own police, laws, tax systems and government. One of which is an American company called Future Cities Development Corporation, co-founded by Patri Friedman, the grandson of Milton Friedman, who in 1976 won the Prize in Economic Sciences in Memory of Alfred Nobel Award. The other company is Grupo Ciudades Libres (Free Cities Group) and MW E TVSNIGX SJ 1MGLEIP 7XVSRK ERH /IZMR 0]SRW X[S entrepreneurs and libertarian activists. 8LI EKVIIQIRX GSRWSPMHEXIH XLVSYKL E TVSNIGX law that passed in the congress, would sell a big part of Honduran territory for the companies to build, sell and manage the city, including a different legislation than the rest of the country. In October last year, after intense debate and mobilization F] SVKERM^EXMSRW STTSWMRK XLI TVSNIGX XLI ,SRHYVEW´ 7YTVIQI 'SYVX GSRWMHIVIH XLI TVSNIGX unconstitutional because it violated the principles of WSZIVIMKRX] ERH XIVVMXSVMEP MRXIKVMX] *SYV SJ XLI ½ZI NYHKI TERIP ZSXIH EKEMRWX -R (IGIQFIV PEWX ]IEV XLI Honduran National Congress approved the dismissal SJ JSYV NYHKIW SJ XLI 7YTVIQI 'SYVX %GGSVHMRK XS Honduran media reports, this dismissal was directly related to the issue of the free cities. The deposed NYHKIW [IVI I\EGXP] XLSWI [LS ZSXIH EKEMRWX XLI TVMZEXI GMXMIW ;MPP ,SRHYVEW WXMPP LEZI XLI ½VWX WX century free cities? If yes, in a very distorted and questionable way.
SECONDSIGHT 33
COLONIZING THE SEA At a distance of 370 kilometers away from the coast SJ XLI GSYRXV] XLI WIE MW RSX WYFNIGX XS XLI PE[W SJ any nation. Founded in 2008 by Patri Friedman, the Seasteading Institute based in Palo Alto, California, EMQW XS FYMPH TPEXJSVQW SR XLI SGIER WIPJ WYJ½GMIRX ERH WYWXEMREFPI ¾SEXMRK GMXMIW [MXL XLIMV S[R PE[W and legal systems. The goal is to make those cities places people can try out new concepts, techniques, ideas and concepts of society. The Institute intends to revolutionize government and social systems worldwide, allowing experimentation, innovation and free competition. ±8LEX´W [L] [I [SVO XS IREFPI ±WIEWXIEHW² ¾SEXMRK cities - which will give people the opportunity to peacefully test new ideas about how to live together. The most successful ones will become thriving new societies - inspiring change around the world. We’re creating this future because our governments profoundly affect every aspect of our lives and improving those aspects would unlock enormous human potential. ”You can read more about it, on their website. By 2015, the institute is planning to present its Poseidon Award, “our prize for the establishment SJ XLI ½VWX MRHITIRHIRX WIEWXIEHMRK GSQQYRMX] ² This prize will be awarded to a community with at PIEWX JYPP XMQI VIWMHIRXW ½RERGMEP WIPJ WYJ½GMIRG] seastead real estate for sale on the open market and political autonomy.
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SECONDSIGHT 33
INSIGHT
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IMAGE BY SEASTEADING INSTITUTE
INSIGHT
“THE EDUCATION OF A LIBERTARIAN” Peter Thiel expresses in this article how he defends the viability of the Seasteading cities and explains which new technologies can bring a future beyond politics, new processes that will lead to undiscovered countries with a new space for freedom. Thiel explains in more depth three of these technologies: cyberspace, outer space and seasteading. CYBERSPACE Internet businesses are creating new worlds. Like Facebook, a new form of community “not bounded by historical nation-states” and PayPal, a new world currency “free from all government control and dilution”, these new worlds will make changes in the existing social and political orders. The limitation is that these worlds are virtual. OUTER SPACE 6ITVIWIRXW E ±PMQMXPIWW JVSRXMIV² ERH MR½RMXI possibilities to escape from politics. He recalls the limitation of space technology’s slow evolution, predicting that “the libertarian future of classic WGMIRGI ½GXMSR [MPP RSX LETTIR FIJSVI XLI WIGSRH half of the 21st century.”
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SEASTEADING “Between cyberspace and outer space lies the possibility of settling on the oceans. For me, the questions about whether people will live there are secondary to the questions about whether seasteading technology is imminent. From my vantage point, the technology involved is more tentative than the Internet, but much more realistic than space travel. We may have reached the stage at which it is economically feasible or where it soon will be. It is a realistic risk and for this reason, I eagerly support this initiative.” UNIVERSIDAD FRANCISCO MARROQUÍN In Guatemala there is a university which has the mission to foster ideas to create a community of free and responsible individuals. The Universidad Francisco Marroquín is a libertarian hub in Central America. In April 2011, the University organized a conference about the future of free cities. In September of the same year the University together with The Seastead Institute created the Free Cities Institute, a research organization for free cities studies. The people in the Free Cities Institute envision a future in 50 years in which the planet will be populated with free cities, where people can prosper and live freely. These cities will compete against each other in terms of better laws and rules, generating a lot of wealth.
IMAGE BY SEASTEADING INSTITUTE
The Seastead Institute got attention around the world in 2008 after Peter Thiel, co- founder of PayPal and an investor in Facebook and Linkedin, invested 500,000 dollars in the Institute.
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INTERVIEW
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INTERVIEW
LOVE AND FREEDOM
We interviewed the artist Dadara in his studio in Amsterdam. We asked LMQ EFSYX QSRI] ERH MXW JYXYVI LI ERW[IVIH [MXL PSZI ERH JVIIHSQ
INTERVIEW BY ANDREIA ROCHA
“Money is the Root of all Evil. In fact, this phrase has its origins in the Bible, which says: For the Love of Money is the Root of all Evil. Somehow Love vanished with the passing of time. But what would happen if Love would return to the equation?” ANTI-MONEY Dadara or Daniel Rozenberg is a Dutch artist questioning the value of money through his art work. He started the Exchanghibition bank in 2010, a travelling exchange booth where money can be changed for art banknotes. Dadara is now working on a new banknote, with no numbers. The value you
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give to this banknote is personal and the idea is to spread it. It’s the love banknote. The Dutch artist began by confessing he was once anti-money. “I kind of hated money, however [LIR - WXEVXIH HSMRK XLMW TVSNIGX - VIEPM^IH XLEX MX wasn’t money what I hated but what money has FIGSQI ² ,I I\TPEMRW XLEX QSRI] MW NYWX E QIER of exchange and it is very anonymous. When a ½RERGMEP XVERWEGXMSR SGGYVW XLIVI MW RS [E] SJ knowing for what the money has been used or what that exact bill will be exchanged for. “If I pay one hundred Euros to someone, how can I know
if the person will buy weapons with it or will pay a child prostitute in Thailand?” That is exactly why he created the Love banknote… to focus more in the relationship between people and less on the mean of exchange, the money. “Working together with other people is all about the relationship. When you pay someone, in a way it changes your relationship. When I buy things, I think more and more about who I’m giving the money to as well as what I buy.” Dadara wants the Love banknote to be a gift to people who make things with love. “Nowadays we don’t even look at each other when we pay. When you pass the love banknote you realize that you are giving money with love to someone, and the person realizes that they do something special.” It is a good way to think about where, to which companies and to whom exactly we are giving our money to. “It is very interesting that I come from an anti-money background and somehow I started to make the equation that money could be love. I’m not antimoney anymore.” EXCHANGE Dadara answers with an interesting comparison. “Imagine the world is a playground, you get to this amazing place where you can do different things, but the playground has a parking lot, it means that in order to keep playing you need to keep throwing money in the parking meter. If you don’t, you you can’t play anymore.” In the end, in his point SJ ZMI[ MX MW NYWX ER SFWXEGPI ±- SJXIR WXEVX Q] XEPOW [MXL E NSOI - EWO XLI EYHMIRGI MJ XLI] LEZI IZIV used money, and of course people start laughing. Everyone uses money, well not everyone, because I met people that don’t use it anymore, but almost everybody uses money every single day. The weird thing is that we don’t think about what it is.You are either for or against money. In America drawing on money is considered a federal offence, a real, serious GVMQI -J MX MW NYWX E XSSP ]SY WLSYPH FI EFPI XS YWI it as you want, for something else. If you draw on MX ]SY KS XS NEMP XLIVI EVI IZIR PE[W XLEX TVIZIRX you from thinking of money as a tool. As a tool and as a medium of exchange, money can change
SECONDSIGHT 33
and become something else, slowly we start seeing people experimenting.” Dadara enumerates some alternative and complementary currencies, Bitcoin, the Brixton Pound, the Ithaca Hours, Time Banking, which support local businesses and communities instead of big corporations. He compares them to his Love banknote. “It can be important for people that you know. It’s like the love banknote.” VALUE OF REAL. (EHEVE´W QSRI] TVSNIGX MW EFSYX XLI ZEPYI SJ [LEX MW VIEP ±-R XLMW HMKMXEP EKI MX FIGSQIW QSVI HMJ½GYPX to understand what is real. I’m very fascinated by money. I think a part what went wrong with money was the transition into digital, suddenly it stopped FIMRK VIEP MX MW NYWX HMKMXW ZIV] IEW] XS QYPXMTP] 3R the other hand it is interesting because it became nothing; it lost value, which is much more realistic since money is not valuable anymore. Money is not backed by gold for almost 40 years now. The only value it has is the agreement; if tomorrow no one believes in the agreement anymore it becomes worthless. With art there is something tangible. I think that the Love currency makes people realize the value of real.” Dadara tells us about his 2012 banknote that has a hand painted QR code, it took a whole day to paint the tiny QR code, and as he states “it is totally useless” considering that “you can go to qrfy.com and get a QR code in 3 seconds”. Nevertheless he believes “it adds so much value”. GIFT “I really like gift economy and the fact that money can have, like the love banknotes, more value than ½RERGMEP SRI 8LI [E] QSRI] [SVOW LEW GLERKIH us, most of us are obsessed by money. We don’t do good things because we love them; we do them because we earn money. I still don’t understand this.” ±-J QSRI] [SYPH WLMJX XS KIX QSVI ZEPYIW XLIR NYWX ½RERGMEP MJ MX [SYPH FIGSQI E TIVWSREP XSSP KMJX economy could be part of our economy. If 10% of our economy would become gift economy, I might
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SECONDSIGHT 33
INTERVIEW
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LOVE BANKNOTE BY DADARA
INTERVIEW
‘THE EXAMPLE OF A MUSICIAN WHO, BY UPLOADING HIS MUSIC ONLINE, REACHES MILLIONS OF PEOPLE IN ONE DAY BUT DOESN’T KNOW HOW TO PAY THE RENT THE NEXT MONTH’
TIME “What is most important is that we do whatever we love and be able to live, it is not important if we don’t get rich. We don’t have much time here, so every time you do something, you should really ask yourself, is this really worth my time? The time you spend you will never get back. Maybe there is a chance that in two years I become a millionaire, or maybe I won’t have any money, but in two years I
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will have two years less time then I have now. Time is much more valuable.” HAPPINESS “You can be very happy with twenty million, and you can be very happy with nothing. In a way it should be irrelevant to your happiness. The richest man is not he who has the most, but he who needs the least, I mean being happy is a state of mind. Is like being free.” “Freedom is a core value. Money is one of many things that has a relationship with freedom, it can lead to freedom. It also depends on how you use it. You can have a lot of money and be absolutely not free. Probably people that don’t have much money don’t need to go to work. Everyday they do what they want, they wake up and they decide what to do, that is total freedom, but if they want to go to New Zealand then they would have a problem with that freedom.
IMAGE ILLUSTRATION BY: XXXXXXX BY DADARA
be a hippie but I think that our world would be much more beautiful. It is a great concept, and not a new one, it’s a very old concept.” “It’s a big transition period, very complicated but also very exciting, because in this world we still need money, in one hand it’s is great, in the other...” Dadara gave an example of a musician who, by uploading his music online, reaches millions of people in one day but doesn’t know how to pay the rent the next month. “We need a different kind of system to make that behavior of sharing work.”
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ART
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THE ARTY GOD ART AS A LIVING EXPERIMENT PLAYING TEXT BY ANDREIA ROCHA
IMAGE BY: JAMES READ
Bioart is a new media art form where art and science merge by using living organisms as materials. Bioart uses biotechnology as a tool to transform living matter into art. This art form appeared in the late 20th century and started to develop more in the beginning of the 21st century, the advancements of biotechnology and its processes opened up groundbreaking possibilities for art. Biotechnology is the science of the future and it has is been used for centuries now. Humans have spent thousands of years selecting the best features of nature, as developing better crops, and improving medicines. With the advances of biotechnology we are now able to look at the universe of atoms which will bring many solutions for treating genetic disorders. Biotechnology can bring great improvement for humanity, it also raises many questions concerning ethics and values on the consequences of interfering with the creation of life and evolution. The term bioart was coined by Eduardo Kac in 1997 when referring to his artwork “Time Capsule”, which consisted implanting a RFID (Radio-frequency MHIRXM½GEXMSR QMGVSGLMT MR LMW S[R FSH] ,I [ERXIH to question the relationship between man and technology. “Memory chips are found inside the computers and robots and not inside the human body yet. In “Time Capsule”, the presence of the chip (with its recorded retrievable data) inside the body, forces us to consider the co-presence of PMZIH QIQSVMIW ERH EVXM½GMEP QIQSVMIW [MXLMR YW
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External memories become implants in the body, anticipating future instances in which events of this sort might become common practice, enquiring about the legitimacy and ethical implications of such procedures in the digital culture.” (In artist website ekac.org/timec.html) MIT Joe Davis is a bioartist, a philosopher and he is considered the father of bioart. He was born in ERH LI MW E VIWIEVGL EJ½PMEXI MR XLI EGGPEMQIH Department of Biology at MIT - Massachusetts Institute of Technology and in the George Church Laboratory at Harvard Medical School. Joe Davis LEW TYFPMWLIH [SVOW MR 7GMIRXM½G %QIVMGER 2EXYVI Magazine and several books. His work is considered to be revolutionary by blending science and art together. His research and art work ranges from molecular FMSPSK] XS ±WTEGI EVX² ,MW TVSNIGX 4SIXMGE :EKMREP MW E KSSH I\EQTPI SJ E ±WTEGI EVX² TVSNIGX (EZMW recorded the vaginal contractions of ballerinas of the Boston Ballet then translated it into text, music, TLSRIXMG WTIIGL ERH ½REPP] MRXS VEHMS WMKREPW 8LMW message was broadcasted into space for more than 20 minutes until the US Air Force noticed and shut it down, 17 minutes more then Carl Sagan and Frank Drake’s Arecibo message in 1974 containing information about human race. This vaginal
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ART
literally live and die. They are an example of art with E PMJIWTER XLI PMJIWTER SJ E FYXXIV¾] 8LI] EVI ER example of something that is simultaneously art and life.”
IMAGE BY: JAMES READ
SYMBIOTICA SymbioticA is a research laboratory focused on the artistic exploration, learning and critique of life sciences. It is part of the University of Western Australia. Artists explore possibilities by actively YWMRK WGMIRXM½G XSSPW ERH XIGLRSPSKMIW 7MQFMSXMG% also encourages philosophers and social scientists to explore the implications of blending science and art. “Victimless Leather” is part of The Tissue Culture and %VX 4VSNIGX YRHIVXEOIR F] XLI PEF WMRGI -X´W E ±PIEXLIV² NEGOIX KVS[R MR ZMXVS QEHI SJ PMZMRK XMWWYI using a combination of mouse and human cells. “Our intention is not to provide yet another consumer product but rather to raise questions about our exploitation of other living beings. We see our role as artists as one in which we are providing tangible example of possible futures, and research the
THE FLUORESCENT BUNNY Eduardo Kac uses biotechnology and genetics to create provocative art by exploring and criticizing WGMIRXM½G XIGLRMUYIW ±%PFE² JVSQ MW LMW QSWX famous work, a female rabbit implanted with a Green Fluorescent Protein (GFP) gene from a X]TI SJ NIPP]½WL ±%PFE² MW RSX KVIIR EPP XLI XMQI WLI KPS[W KVIIR SRP] YRHIV E WTIGM½G FPYI PMKLX 8LI GFP gene is typically used as a type of marker for genes expression and protein localization in living organisms. Kac used GFP in a symbolic way, as a social marker, to promote questions on the social idea of difference. “This is where art can also be of great social value. Transgenic art is a mode of genetic inscription that is both inside and outside of the operational realm of molecular biology, negotiating the terrain between science and culture. Transgenic art can help science to recognize the role of relational
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potential effects of these new forms on our cultural perceptions of life. “ THE ORIGINAL SIN Charlotte Jarvis is a British artist who collaborates [MXL WGMIRXMWXW -R LIV VIGIRX FMSEVX TVSNIGX ±&PMKLXIH by Kenning” she collaborated with the Netherlands Proteomics Centre. Together they bio-engineered a bacteria with the Universal Declaration of Human Rights text encoded into its DNA sequence. The DNA was then extracted and used to “contaminate” apples grown near The Hague, which houses the International Court of Justice. These forbidden fruit were then sent to laboratories all around the world. Scientists were asked to translate the message from its biological language to English, send it back and eat the fruit of knowledge. ±&PMKLXIH F] /IRRMRK² MW E TVSNIGX JYPP SJ MQTPMGMX messages. The title explains the whole concept SJ XLI TVSNIGX /IRRMRK MW ER SPH )RKPMWL [SVH JSV knowledge, so the title literally means “diseased by
and communicational issues in the development of organisms. It can help culture by unmasking the popular belief that DNA is the “master molecule” through an emphasis on the whole organism and the environment (the context). At last, transgenic art can GSRXVMFYXI XS XLI ½IPH SJ EIWXLIXMGW F] STIRMRK YT the new symbolic and pragmatic dimension of art as the literal creation of and responsibility for life.” (In artist website http://www.ekac.org/ gfpbunny.html) A BUTTERFLY CANVAS Marta de Menezes is a Portuguese artist that GVIEXIH ±2EXYVI#² MR E TVSNIGX MR [LMGL XLI EVXMWX QSHM½IH XLI TEXXIVR SJ FYXXIV¾] [MRKW 8LMW MRXIVZIRXMSR HMHR´X MQTP] KIRIXMG QSHM½GEXMSR instead de Menezes interfered with the normal HIZIPSTQIRX SJ XLI [MRKW [LMPI XLI FYXXIV¾] [EW WXMPP MR XLI GSGSSR ±8LI FYXXIV¾] [MRKW VIQEMR I\GPYWMZIP] QEHI SJ RSVQEP GIPPW [MXLSYX EVXM½GMEP pigments or scars, but designed by an artist.” The EVXMWXMG MRXIVZIRXMSR PIEZIW XLI FYXXIV¾] KIRIW unaltered, so the new patterns are not transmitted to the descendant generations. “These artworks
IMAGE BY: JAMES READ
compilation message was actually a protest against the omission of female genitalia from the images included in the famous Arecibo message.
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knowledge”. “Blighted by Kenning” wants to question XLI [E] MR [LMGL MRXIPPIGXYEP TVSKVIWW ERH WGMIRXM½G knowledge is infectious. ±-X MW LSTIH XLEX XLI TVSNIGX [MPP GVIEXI ER international network of genomics institutes and a purposeful spreading of genetically engineered material. It is this ‘contamination’ that interests us; a realization of the concept that ideas can be infectious.” can be read in the website of Netherlands Proteomics Centre. The apple is one of the most cultivated fruits in the world; it symbolizes knowledge, temptation and sin. The original sin. Jarvis challenges the concept of knowledge as evil by literally contaminating the forbidden fruit with knowledge. The original sin was knowing too much. By asking scientists around the world to eat the infected fruit, she is actually asking XLIQ XS EJ½VQ XLI FIPMIJ XLI] LEZI MR XLIMV ½IPH ERH consequently in intellectual progress. We are afraid of how technology will evolve and what that evolution will be. The idea of having a message transmitted around the world by a genomic ±PERKYEKI² MW EPQSWX WGMIRGI ½GXMSR QEXIVMEP
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CELLS, BACTERIA, TISSUES Bioart is the future of art; it develops hand in hand with technology. Developments in science and technology are having a profound effect on society. As technology progresses in his techniques, bioart also thrives using those same techniques to create discussion, explore and envision possible futures. Art is a source of information; it is necessary for artists and public in general to be acquainted with the research into probable futures originating from the application of newly acquired knowledge. Instead of paint brushes, musical instruments, cameras, bioartists use living matter like cells, bacteria, tissues, genes which they manipulate and transform, extrapolating the boundaries between natural ERH EVXM½GMEP 8LMW EVX JSVQ SFZMSYWP] FVMRKW E PSX of ethical questions. Science and art both attempt to explain the world in ways that are very distinct FYX GSQTPIQIRXEV] XS IEGL SXLIV 8LI SFNIGXMZI WGMIRXM½G QIXLSH GSQTPIQIRXIH [MXL TSIXMG ERH intellectual discussion.
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PUBLISHER/EDITOR IN CHIEF ANDREA WIEGMAN andrea@secondsight.nl CO-EDITOR TRUUS DOKTER truus@secondsight.nl PRODUCTION MANAGER FLOOR SCHNEEMANN ¾SSV$WIGSRHWMKLX RP WITH CONTRIBUTIONS BY MANOJ FENELON ARI POPPER CLAES FOXERUS TOM PALMAERTS ANDREIA ROCHA THOMAS LOUDON DANIEL ROZENBERG ANYA VAN DE WETERING BRAM YOFFIE CARLOS CUELLAR BROWN CARIDAD BOTELLA LORENZO KARLIJN KLAVER NIELS GODRON MERIJN HORCK PAUL MBIKAYI MICHAEL BUCKLEY DJ-LU MARIEKE DE RIJKE ELS DRAGT JAN AGELINK SAMUEL LEVIE SEBASTIAAN AALST PAUL RUIGROK PAUL VAN DEN BOSCH BAS KUIPER NASSIM TALEB HANNA ROSIN TIM WU
ART DIRECTION & DESIGN DIEWERTJE VAN WERING MRJS$HMI[IVXNI GSQ [[[ HMI[IVXNI GSQ PRINTING DE SWART, THE HAGUE ISBN: xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx SALES sales@secondsight.nl T. +31 (0)612134789 PRICING Single copies of Second Sight are €25 (incl. VAT). Second Sight is a quarterly. Annual subscription costs €150 (print issues) or €75 (PDF). An online database membership costs €150 and a full membership €750 (all-in plus acces to meetings and book presentations). Students have 50% reduction. Unless otherwise stated, these rates include postage costs but exclude VAT. subscription@secondsight.nl To subscribe and for enquiries about subscriptions: Abonnementenland PO Box 20, 1910 AA Uitgeest, The Netherlands T. +31 (0)900 - ABOLAND or +31 (0)900 2265263 Ten euro cents per minute. Fax +31 (0)251310405 Website: www.aboland.nl for subscriptions, orders, changes of address and cancellations CANCELLING A SUBSCRIPTION We must be informed of any cancellations eight weeks in advance of the end of the subscription period in question. 6EXIW QE] FI WYFNIGX XI GLERKI CONTACT 7)'7- 1IHME 2MIY[I^MNHW :SSVFYVK[EP 1012 RN Amsterdam The Netherlands
TRANSLATION VICTORIA VAN DER DOEL EXTRA EDITOR ALI AKSÖZ
3R XLI [IFWMXI SJ WIGSRHWMKLX RP ]SY [MPP ½RH E GSQTVILIRWMZI TVS½PI SJ XLI GSRXVMFYXSVW ERH ]SY [MPP EPWS ½RH QSVI GSRXVMFYXMSRW JVSQ XLIQ
SECSI MEDIA TYFPMGEXMSRW EVI WYFNIGX XS XLI XIVQW SJ XLI 'VIEXMZI 'SQQSRW %XXVMFYXMSR 7LEVI %PMOI 2IXLIVPERHW 0MGIRWI This means that you may partly copy, re-use or distribute the work, provided that you mention both the articles source and its author. We would also greatly appreciate it if you could communicate any usage to the editors by emailing them at REDACTIE@SECONDSIGHT.NL SECSI MEDIA 2013
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."&14%"#$&%+*1E14#'%5* $)#1#"'G#.,/0.1#")03 MRJS$HMI[IVXNI GSQ [[[ HMI[IVXNI GSQ /"%*&%*5 $#.*1/"'F.'(#.(/3+# ISBN 978-94-91131-14-1 */2#* sales@secondsight.nl T. +31 (0)612134789 4")5)03 Single copies of Second Sight are !25 (incl. VAT). Second Sight is a quarterly. Annual subscription costs !150 (print issues) or !75 (PDF). An online database membership costs !150 and a full membership !750 (all-in plus acces to meetings and book presentations). Students have 50% reduction. Unless otherwise stated, these rates include postage costs but exclude VAT. subscription@secondsight.nl To subscribe and for enquiries about subscriptions: Abonnementenland PO Box 20, 1910 AA Uitgeest, The Netherlands T. +31 (0)900 - ABOLAND or +31 (0)900 2265263 Ten euro cents per minute. Fax +31 (0)251310405 Website: www.aboland.nl for subscriptions, orders, changes of address and cancellations 5/05#22)03./.*+6*5")4')%0 We must be informed of any cancellations eight weeks in advance of the end of the subscription period in question. 6EXIW QE] FI WYFNIGX XI GLERKI 5%0'/5' 7)'7- 1IHME 2MIY[I^MNHW :SSVFYVK[EP 1012 RN Amsterdam The Netherlands
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