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OSCILLATOR ASHLEY MOORE ash@monolithmagazine.co.uk GRAPHIC CONTRIBUTION: ROSS HOLDEN SAM PRICE WRITTEN CONTRIBUTION: MATT LEVER JACK PADURARIU PHOTOGRAPHY CONTRIBUTION: OSCILLATOR TANYA TRABOULSI LIZ DELEO MATTHEW WASH THANKS TO: ROB DE NIET PAUL TIERNEY HANNAH BALL LORE OXFORD MONOLITH MAGAZINE
OSCILLATOR. GALLOWS POLE: COMMUNICATIONS POLE DISGUISED AS A TREE. TOYOTA CONCEPT CENTRE, BURGH HEATH. COMPLETE.indd 2-3
I WELCOME YOU TO ISSUE ONE OF OSCILLATOR MAGAZINE, MONOLITH MAGAZINE’S LITTLE BROTHER. AS THIS IS THE FIRST ISSUE OSCILLATOR SPARED NO EXPENSE WITH CONTACTING FANTASTIC MINDS TO PIECE TOGETHER A BODY OF WORK THAT IS ENTERTAINING, INTROSPECTIVE AND AT TIMES, DAUNTING. IT IS BY NO MEANS A TECHNOLOGY MAGAZINE, IT IS A MAGAZINE DEDICATED TO A SCIENTIFIC AND MATHEMATICAL APPROACHES TO ART, MUSIC, CULTURE AND SOCIETAL DEBATE. IN THIS FIRST ISSUE THERE ARE INTERVIEWS WITH ROBERT AIKI AUBREY LOWE (LICHENS), ARCHITECT DAN DODDS AND ARTIST JONTY HURWITZ. THERE ARE TWO INSIGHTS INTO EXHIBITIONS AROUND LONDON, TWO SOCIETAL COMMENT FEATURES AND ONE LIVE REVIEW TO ROUND OFF. EVEN THOUGH OSCILLATOR INVITES YOU ON THIS JOURNEY, IT IS A PERSONAL JOURNEY ALSO, ONE THAT WAS FILLED TO THE BRIM WITH SUBLIME IDEAS, SINCERE GESTURES AND IRONIC CONCLUSIONS. SO PLEASE KEEP AN OPEN MIND AND GO FORTH AND OSCILLATE.
COVER DESIGN BY ROSS HOLDEN
All rights reserved. No part of this publication may be repoduced in whole or part without written permission from the publishers. © 2013 OSCILLATOR magazine. The views expressed in OSCILLATOR are those of respective contributors and are not necessarily shared by the the publisher or OSCILLATOR magazine these parties cannot be held responsible for them. This is a pilot issue.
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CONTENTS 2. LICHENS. WORDS BY ASHLEY MOORE. PHOTOGRAPHY BY TANYA TRABOULSI AND LIZ DE LEO. 6. EXHIBITION INSIGHT: MARIKO MORI, REBIRTH. WORDS BY ASHLEY MOORE. PHOTOGRAPHS PROVIDED BY THE ROYAL ACADEMY OF ART. 10.EXHIBITION INSIGHT: BRUCE NAUMAN, MINDFUCK. WORDS BY ASHLEY MOORE. PHOTOGRAPHY PROVIDED BY THE HAUSER AND WIRTH GALLERY. 14. DAN DODDS: NEAR UNISON. WORDS BY ASHLEY MOORE. PHOTOGRAPHY PROVIDED BY DAN DODDS. 20. JONTY HURWITZ: GENERATION PI. WORDS BY ASHLEY MOORE. PHOTOGRAPHY PROVIDED BY ARTS MEDIA CONTACTS. 25. DATA TERRORISM. ALGORTHIMS PROVIDED BY NANEX. 30. OUR CYBERNETIC FUTURE: PART 1 - AN INTRODUCTION. WORDS BY ASHLEY MOORE. DIGITAL COLLAGES DESIGNED BY SAM PRICE. 36. OUR CYBERNETIC FUTURE: PART 2 - A RESPONSE. WORDS BY MATT LEVER. DIGITAL COLLAGES DESIGNED BY SAM PRICE. 39. YEAR OF THE GUN. WORDS BY ASHLEY MOORE. 42. AMON TOBIN LIVE REVIEW. WORDS BY JACK PADURARIU. PHOTOGRAPHY BY MATT WALSH. OSCILLATOR. CROW’S NEST: COMMUNICATIONS POLE DISGUISED AS A TREE. TOYOTA CONCEPT CENTRE, BURGH HEATH. COMPLETE.indd 4-5
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LICHENS LICHENS LICHENS LICHENS LICHENS
OSCILLATOR TALKS TO ROBERT AIKI AUBREY LOWE AKA LICHENS
survived to be the oldest living organism on the planet. Lichens are everywhere and continue to thrive in conditions that would commonly be a detriment to most,’ he explained.
ABOUT IMPROVISATIONAL MUSIC
This idea was the ‘springboard’ for the endeavour.
AND THE RELATIONSHIP
Lowe became disillusioned with ‘concentrating on structured
BETWEEN THE PERFORMER AND THE AUDIENCE.
music in bands for so long.’ This spurred his exploration in ‘expansive’ and ‘out reaching’ spontaneous music and much like the actual lichens organism, the primordial instinct to span out and evolve. Every performer has their medium for expression, the instruments that come to mind when thinking
There is a bond like no other between a performer and their
of improvisational music would usually be the jazz maestros:
audience, one bound in respect, appreciation and awe. From
saxophonist, trumpet player or drummer. Lowe however
those who watch a street performer to those who witness a
insists that his voice is his instrument of choice, ‘each human
philharmonic orchestra, the scale is different but the
voice is distinct and singular. What better way to express
engagement is all the same. A performance can start a fire,
myself musically than to use an instrument no one else had?’
make a grown man cry and form a revolution. It is this special relationship and the space between performer and audience,
Prior to this was a shift through different instruments, from
which interests OSCILLATOR magazine. So much so we
acoustic and electric guitar, to polyphonic hardwired
decided to get in touch with artist/performer: Lichens,
synthesizers and finally arriving at modular synthesizers. The
formally known as Robert Aiki AubreyLowe. With a lot of
modular proving to be the most effective, as this has the
persistence we managed to get in touch with Robert, who at
‘most interesting dialogues with the voice,’ explained Lowe,
the time was on tour with the experimental stoner/sludge
‘there was quite simply a direct organic thread between
metal band Om, who Lowe considers ‘more of a sound than
the nature of the two,’ he added ‘feeling the give and
specifically leaning towards any particular genre of music.’
take between myself and the modular system, was and is, super exciting.’
Lichens is Lowe’s solo project, which was created in 2004. The project embodied the ‘creation of sound in the moment.’
Lowe could be described as a type of shaman in performance.
With the name literally took from the organism, ‘lichens are
Comprising delicately layered chants incited by certain
sustainable entities,’ expressed Lowe, which is reflective of
‘rituals’ within the music. He uses the modular synthesizer to
the way he makes music, ‘through symbiosis lichens have
‘complete the circuit’ when in these trancelike states he tends
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3.
BEIRUIT LIVE RADIO PERFORMANCE PHOTOGRAPHY BY TANYA TRABOULSI 23/04/2013 08:06
COLOUR PHOTOGRAPHY: LIZ DE LEO BEIRUIT LIVE RADIO PERFORMANCE PHOTOGRAPHY BY TANYA TRABOULSI
As solo music is all internal, the ‘kinetic energy must cycle
Art Theatre Guild in Japan as well as his ‘affinity’ for
through you on an infinity loop, which could lead down a
traditional African masks and wax textiles. He illuminated
different avenue than if that energy were shared with others.’
that ‘every day there is a new epiphany. The world reveals itself to you consistently.’
to ‘gravitate towards.’ We asked Lowe what were some of the
something magical,’ expressed Lowe, ‘it is important for me
What about accompaniment on performances? Does this
sensations involved in the performances, ‘there is catharsis’
to inform the atmosphere of the room.’
affect the improvisation, especially to a solo performer?
he replied, ‘that is returned to with each performance.’ He
Lowe instilled in me that ‘ego’s must be set aside,’ which is an
Other aspects of influence stem from ‘environment and
illuminated that this this expulsive process, ‘which leads to
As far as the audience is concerned, picking up on the
important step in creating a successful ‘group dynamic,’ he
circumstance’ rather than ‘a specific album or a painting,’
ecstatic music… expansion, introspection, a half waking, half
atmosphere is important but he doesn’t necessarily ‘engage
added, ‘it could only take one person to diminish the overall
explained Lowe. However he did reminisce about some peak
dreaming, state.’
with the audience, I generally cast off and push out as far as I
impact of the music.’
moments that certainly grabbed his attention and pushed
can. I don’t look back until the set is over.’ He did however
him toward a direction. For example in 1987, on the
Musical extemporization is a lot of the time, ‘misinterpreted
reveal that the space ‘should be taken over without
Improvised music is just one of the many different creative
recommendation of the store clerk, Lowe picked up a copy of
as flying off the handle, creating a racket, flexing some
question, by the artist and the patron. Why not make it
outputs that Lowe chooses to express his feelings and
I Against I by Bad Brains, ‘listening to that was a pure delight.
muscle,’ explained Lowe. The main idea of being able to
ours for the time?’
thoughts, ‘for many years’ he has concentrated on works on
It was like nothing I had heard before,’ he said. Hard to tell if
improvise is to be able to understand the ‘particular moment
paper, ‘primarily dealing in repetition of motifs, not unlike my
this informed his future work, but keeping to his ideology
and create a dialogue with, and accent that moment.’ The
Lichens is essentially a solo performance. All of the recorded
musical outings,’ he said. Film has also been a ‘specific outlet’
about day-today influences, his involvement with putting on
essence of improvisation, according to Lowe, is about a
material is also improvised, even the pieces he creates with
for him, collaborating with two artists called Ben Rivers and
music shows such as the Caspar Brotzmann Massaker show
‘deeper listening,’ to be able to take ‘what you have and
multi tracking, ‘each layer is done at that moment,’ he
Ben Russell for a year shooting a film called A Spell To Ward
when he was seventeen may have spurred his interests in
wrangle and transform that moment into something new,
explained, ‘that of course is not to say that I will give thought
Off the Darkness. He also cites Oskar Schlemmer’s 1970 film
performance, ‘the entire architecture of my body was
something fresh.’
to what has come before as I continue through,’ he cryptically
Das Triadische Ballet (1922) as an influence, ‘geometry and
rearranged by the sonic information happening in the room
concluded. So what are the parameters of performing on
movement are big in my work, as is trance,’ he assured me
during the show. I’ve not felt something like that before or
We as the audience are always on the receiving end of the
your own? Does it mean that you are restricted, or does it
and reiterated that the film is a ‘wonderfully breathtaking
since. It was in that moment that I could understand the
performance; we are never able to distinguish what the
mean you are emancipated from rigid formations? One of the
example of all three.’ Lowe also revealed his ‘fascination’ with
physicality of sound, which would drive me here today.’
musician’s personal relationship with us is, if there is any at
main problems is ‘not having others in your direct vicinity to
all. Whether the mood or atmosphere influences the
feed off as the creative process unfolds,’ he explained, ‘there
performance in anyway, ‘creating a space within a space is
is a certain kinesis that takes place when you are interacting
key, to transform the room only for that short time is
with others to achieve the same goal.’
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‘EACH HUMAN VOICE IS DISTINCT AND SINGULAR. WHAT BETTER WAY TO EXPRESS MY SELF MUSICALLY THAN TO USE AN INSTRUMENT NO ONE ELSE HAD?’ 5. 23/04/2013 08:06
TOM NA H-LU - 2006 .
MARIKO MORI: REBIRTH
TRANSCIRCLE - 2004 The focal point for Mariko Mori’s latest work, Rebirth, is the life cycle of a star, which is exhibited at the Royal Academy of Arts. This multi-media journey is an oscillation between spiritualism and science, of East and West. A ‘seamless mix of technology and aesthetics, of science and philosophy, of Japanese artistic tradition and Western art history, of pop culture and spiritual practice,’ said the New York Times. Mariko Mori is a New York-based Japanese artist and Re-birth is her first major exhibition in London for fourteen years. In the 1990s she was hailed, as one of the most innovative of her generation and this is still the case with her new showcase. The main piece of work exhibited is entitled Tom Na H-lu II. Created in 2006, the sculpture is a huge glass monolith filled with LED lights. This is a representation of neutrino astronomy, a new science developed by the Japanese physicist and Nobel Prize winner Dr Masatoshi Koshiba. The giant glass totem is a real time reflection, connected to a computer at the Institute for Cosmic Ray Research at the Kamioka Observatory – the University of Tokyo, concentrating on the immense energy (neutrinos) that is created during radioactive decay, in this case, the death of a star. 6. COMPLETE.indd 10-11
The phosphorescent light changes are the direct presence of the different types of neutrinos; forms of dark matter that are within the earths atmosphere. This sculpture is a living (or dying) work of art that is a representation of matter unbeknown to mankind. It takes that which we cannot see and makes it an aesthetic in which we stand before it, and refuge in matters that we are not directly associated with. Mariko Mori spoke about her work in an interview with the Royal Academy of Arts, where the exhibition is hosted, “The star is something we feel is quite distant to us but when a star dies all the dust that accumulates becomes part of another life.” Another aspect of the exhibition is entitled Transcircle (2004), which represents the nine planets in our solar system, this is symbolized by a stone circle of glowing totems in a circle room. To say the piece is tranquil is an understatement; the stillness and glowing of the stone tablets are reminiscent of Celtic places of ceremony in and around the British Isles. Even in the artificial space of the RA this sublime monument of peace, tranquility and worship seemed to naturally fit into the white abyss with ease and confidence. Mori’s work is purposely
7. 23/04/2013 08:06
MIRACLE - 2001
MIRACLE - 2001
situated around the winter solstice, “since 2003 I started to do a feature work on pre-historical site all over japan and also some parts in Scotland and England the culture they used to have is deeply rooted in nature the winter solstice was quite important element as well, which is almost like beginning of new life,” she said in an interview with the Royal Academy. This year’s winter solstice, according to certain ancient calendars, marks either the end of the world or the rebirth of a new world. As you enter the exhibition, you get in free because the guy on the desk asks “have you got your ticket mate,” you reply, “oh I didn’t know you had to pay,” he reiterates, “go on in, its nearly over anyway,” which is a nice gesture, it will make you appreciate what you are about to witness even more. As always with these types of
exhibitions there are dark corridors. I guess you could say that this is done as a means to make you forget where you are, become disorientated and then sink into the visual scape. You first stumble down a small corridor that looks as if it leads to the janitors closet, turn left and you are now within the presence of a giant glass monolith, it is so quiet that you can hear the pigeons cooing outside. There is a slope up to it, as if stood at the foot of some kind of morphing space mountain. The pastel dulcet tones mutate from green to blue to pink and then cut out altogether. If this is dark matter (neutrinos) then it must be always moving. It seems that even though this is a static monument, the transforming glow gives it flux. There are archaic religious undertones here, 8.
COMPLETE.indd 12-13
reappropriated into a futuristic vision or representation of peace and tranquility through something as destructive as the obliteration of a star. It brings peace and tranquility to the chaos of central London. As you head further into the like cycle of the star, you come across a pile of white stones in an orange glow and on the wall is a crystal mask of what looks like a dragon face, again the heavy connotations of ancient cultures and mythologies are ever present, but like before, presented in an odd fashion as nature recreated in an artificial space. The third room is large and on the left wall are what look like windows into different dimensions. This must be the middle of the journey. They appear like large portholes on some strange spacecraft. This piece is entitled
Miracle (2001). Could it be that this these cylindrical objects are telescopic visions of an alternative future or reality? Attached to this is a separate room to the right, you go inside to find a stone circle that you might see somewhere like Easter Island, except that these, like the first totem, glow too. Again this connotes ancient mythology and religion, but instead of the location being the British Isles, this looks as if it belongs to Venus or some distant realm. The stone circle links with the idea of the circle of life and death. The final part of the exhibition is White Hole (2008). The dark corridor before you bends toward the right, pitch black and serene. It opens up into a tear drop womb, this – like the first piece – is also LED based and is connected to the same feed at the university, the difference is this is not the death of a star but the birth of a star, which completes the cycle.
9. 23/04/2013 08:06
BRUCE NAUMAN:
MINDFUCK CAROUSEL (STAINLESS STEEL VERSION) 1988
Just down the road from the Royal Academy of Art, on Savile Row, is the Hauser & Wirth gallery. At the same time as the
Rebirth exhibition is Mindfuck the newest retrospective
installment by American artist Bruce Nauman curated by Phillip Larratt-Smith. From the title it is evident that this
exhibition has brash tendencies, tendencies however that are
close to home. Mindfuck explores the philosophical idea of the mind/body problem and was specifically chosen as a
slang term that is both a verb and a noun to insinuate brainwashing,
manipulation
distressing situation.
and
representational
of
a
There are many oscillations within this body of work; the first
is the oscillation between the two galleries, even though the two are not connected. It is interesting to find such contrast within the same area; the tranquility of Rebirth opposed to the harsh neon sexual nature of Mindfuck. The second is the
oscillation of the mind that is incorporated into Nauman’s
work; it is the psychoanalytical theory that is behind the neon lights, the Freudian influence. Nauman explores this by
splitting his work into two sections. The first is the cerebral
and intuitive side to his work, Good boy/Bad boy (1986 – 1987) is a series of phrases that are grouped together and displayed in neon tubing, these are pieces of the American vernacular
that are reflective of Nauman’s interests in slang, pun, phrase
and idiom. This is manifested in the sexual patterns of interrelationships, (I love, you love, we love, this is our love). At
the other end of the spectrum is the more physical side that exemplifies the body, which is represented in his installments
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11. 23/04/2013 08:06
these formidable features the neon glow around the corner entices you to delve further into the exhibition.
The wall to your right is a huge neon frame, upon further
inspection; there are groupings of words that illuminate in no
specific order in a spectrum of neon colours. Your eyes adjust
to a grouping that flashes in red, “I am an evil man, you are an
evil man, we are evil men, this is evil,” underneath it another grouping reads the same but for women instead, the final line is “I’m alive.”
In the middle of the room is a giant rotating steel frame. At four adjacent points, plastic and metal casts of greyhounds cut in
half, swing round in a monotonous fashion. The machine is
dragging them in an endless circle. In the top left corner is another neon installation. The words “run from fear, fun from
rear” are illuminated in neon glow, this play on words (among many
others)
suggests
that
Nauman
is
exploring
homosexuality, or so it seems from the first look. Back toward
the door on the adjacent wall to the neon groupings of phrases is another neon sculpture. It is two men in the sixty-nine
sexual position with both of their penises in the others mouth. How does that make you feel? Are you shocked? Are you offended? Sex is not a new subject, in fact quite the opposite and neon tubing is nothing new, the film Cocktail comes to mind. So what is the gig here? Taking into consideration that
these pieces were created in the 80s, an era renowned for bright lights and harsh contrasts, but what was it doing here? In our time and age? The final piece is situated in the middle
of the room. There is an opening to an inner sanctum, to get inside you will have to squeeze through the purposely narrow
wall where the angle gets smaller as you get closer to the opening, a phosphorescent green glow leaking from the small opening, to find a white room, empty.
GOOD BOY/ BAD BOY 1986-87
SEX AND DEATH/DOUBLE “69” 1985
In an interview with the curator of the exhibition, Phillip Larrattsuch as Carousel (stainless steel version) (1988). This is a
the scene. Nauman’s work is deeply routed in psychoanalytical
rotating steel structure where plastic and stainless steel casts
theory, particularly looking at Freud’s work on puns. Some of
to Larratt, explores ‘perception, space and the body.’
between the Floor and the Ceiling with Changing Rhythms.
Bruce Nauman born in Fort Wayne, Indiana in 1941, studied
The gallery itself is a daunting expedition, walking through the
from 1960-64. He then studied at the University of California
everything you own in one possession. The building itself is a
painting and moved toward making objects, performance art
the black marble that encases the structure. When inside,
that predominantly worked in sculpture and performance,
material, when asked if it’s ok to take pictures they look at you
of greyhounds are dragged around in a circle. This, according
his other work consists of films such as Bouncing Two Balls
mathematics before studying art at the University of Wisconsin
gold lined street of Savile Row. Men in suits worth more than
from 1965-66, this was a significant time as Nauman stopped
black monolith, unable to see the sun due to the dour glow of
and film. He was associated with the Los Angeles art scene
there are young gallery workers submerged in their reading
along with other artists who drastically changed and expanded
as if you just jumped ship from leper island. But apart from
12. COMPLETE.indd 16-17
Smith, he insists that this title is not just for shock factor. ‘If it is aggressive, this is merely as it should be, because this
exhibition proposes nothing less than a radical revision of the
understanding of Nauman’s work,’ he explains, adding that he understands it is provocative but hopes it is understood as
‘thought provoking rather than merely shocking.’ It would be
understandable if this title and Nauman’s work were
considered shocking in the stuffy climate of Britain in the 80s. However in this age, it allows the audience who are
emancipated from prudish and frigid past attitudes, to experience it subjectively. It gives the work space to breathe and allows the audience to make their own judgement.
‘I AM AN EVIL MAN, YOU ARE AN EVIL MAN, WE ARE EVIL MEN, THIS IS EVIL’
13. 23/04/2013 08:06
NEAR UNISON - SAND TRACE
OSCILLATOR TOOK A TRIP TO THE KINETICA ART FAIR TO MEET UP WITH ARCHITECT AND ARTIST, DAN DODDS TO TALK WITH HIM ABOUT HIS NEWEST PROJECT: NEAR UNISON, THE DESIGNER-MAKER ROLE, ART THAT TEACHES, DOES MATH MAKE ART ABSOLUTE AND THE BURNING MAN FESTIVAL.
It was an odd feeling on a wooden swing with someone I had never met before, the difference in our weights acting as the driving force for the A-frame below us. There was an additional piece of wood attached to the point where the A-frame met, which acted almost like a pencil, drawing patterns in the sand box on the floor. It was a product of the relationship between the two of us. Here was the evidence that the connections between people, no matter how irregular, are always imminent, evidence that two strangers can create something unique and exclusive having only just met within that space and time. It was a unifying experience, noticing the oscillation in the sand. The man to the side of me is up and coming architect Dan Dodds, the place was the bowels of the University of Westminster, which was host to the illustrious polymath convention: The Kinetica Art Fair. This is also the university where Dan is in his final year studying a Masters in Architecture. This is the path he has chosen because it lies on the boundary of the ‘arts and the sciences.’ After completing an art foundation course in Bath, Dan went on to complete an undergraduate at the Bartlett [UCL]. His study lets him explore facets in geometry, physics and computational design, within his work there are aspects of both ‘digital and analogue investigations of natural and mathematical systems,’ confessing that it will be beneficial to know a ‘little about a lot’ of
DAN DODDS: NEAR UNISON
different processes and areas within his position. Dan’s influences spark from an interest in the beauty of mathematical patterns. His recent academic ventures directed towards ‘their analysis and synthesis.’ Dan described his perspective as ‘a curious amateur,’ adding that ‘usually the subject matter is something [he] hasn’t come across before’ and ‘comes from a desire to start to understand how it works.’ Understanding the systems involved with the projects he chooses is key in order for him to be able to play with it, when this is the case ‘the process then becomes a creative endeavour.’
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NEAR UNISON - DIGITAL HARMONOGRAPHS
I probed Dan about the significance of being a designer (or
I wanted to find out Dan’s thoughts on the convergence of
artist) and also somebody who makes these designs reality (a
mathematics, science and art and presented him with a tricky
maker, of sorts). It seems a daunting aspect for all who use
question. Did he think this convergence made the piece of art
computers in their field of work, finding they stare a screen for
absolute? The language of math is such a logical full
most of the time. Dan puts this down to the ‘encompassing’ of
vernacular, it seemed to me that a piece of artwork that used
‘digital design tools’ but insists that the ‘buildings, spaces
equations to create a visual image must be absolute in some
and objects that you are working on however exist in the
way, ‘I think that ‘absolute’ is a dangerous word to use
physical world, and its very important to maintain a strong
when talking about art,’ which instinctively made me want
connection, with, and understanding, of, the materials you are
to retract my question, ‘there is something interesting
working with.’ He asserts his hands on approach ensures his
about the purity of geometry that is very satisfying to work
‘projects are of an appropriate scale’ for him to play a role
with,’ he explained, ‘any notions of absolute purity of form or
‘physically constructing them,’ this is his way of being able to
pattern disappear with the introduction of material qualities
appropriate this at the moment.
and personal interpretations.’
The installation itself is part of a series of artworks under the
Personal interpretation is key to conceptual art. I wanted to
umbrella term Near Unison. Dan explained the title, ‘the two
understand and highlight the differences between this, and
pendulum swings are exactly the same, so that the ratio of
art that is influenced by something solid like mathematics. He
their lengths is 1:1 [Unison],’ when the two people sit on each
very bluntly explained that sometimes the ‘intended meaning
of the swings, ‘their body shapes change the effective lengths
of conceptual artworks gets lost in interpretation by the
of the pendulums,’ which in turn makes the drawings
viewer,’ commenting on the small panels of text that come
produced, ‘change for every person,’ he concluded ‘the ratio
with artworks presented in galleries. Like the logic of these
of the lengths of the pendulums with people on is always
small extracts, ‘legibility is the key to good artworks; if the
nearly 1:1, but not quite; hence the title Near Unison.’ As well
viewer can take away something from the work that they didn’t
as using sand as a material to reveal the oscillations between
have before then it is in some way successful,’ he explained.
the two people, Dan also speculates that this could be measured in light. There weren’t any provisions to do this at
As much as Near Unison isn’t a typical conceptual piece,
Kinetica, he had previously undertaken some experiments,
what I took from it was a case of existentialism, the connections
‘using an LED mounted on the ‘stylus’ and a very long
between people and the relationships that creates. I know
exposure photograph taken from above to create traces of the
everything doesn’t need some form of classification or
movement in light,’ he explained. Adding ‘[he] would like to
grandeur explanations but each piece has something to say
explore further – perhaps using UV LEDs moving over UV
and that’s what I wanted to reveal. Dan assured me that the
sensitive painted surface.’
work he creates works on two levels, ‘firstly: at a social level it allows pairs of participants time to create something beautiful
The Kinetica Art Fair is a fantastic measurement of the amount
that is unique to the two of them’ and ‘secondly: at a scientific
of scientific and polymath influences that affect contemporary
level, it allows them to observe the characteristics of simple
art today. I asked Dan whether he thought that there was an
harmonic motion in action,’ he explained. This confirmed his
increase in this, he replied he thought that mathematics and
interest in teaching, something Dan feels important, rather
science had ‘always played an important role in art, just as
than relishing in some conceptual notion, ‘education through
creativity has always been important in scientific discoveries,’
play is an interest that stems from having worked in education
adding, ‘artworks that [he] tends to find most intriguing are
building projects,’ he concluded. This was confirmed while
those that cause [him] to question [his] own perceptions and
working as an architectural assistant.
preconceptions.’ For a young guy, Dan came across
‘THERE IS SOMETHING INTERESTING ABOUT THE PURITY OF GEOMETRY THAT IS VERY SATISFYING TO WORK WITH.’ COMPLETE.indd 20-21
weathered in his chosen field and was incredibly articulate
There was always an ulterior motive for Near Unison. This
about his project, it was a pleasure to be talking to someone
model is simply the prototype for a much larger scale version
so humble about what they do and this attitude was reflected
intended for the Burning Man Festival in which Dan is
in his work.
campaigning to get funding to make his vision possible.
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NEAR UNISON - SAND TRACE
PROPOSED BURNING MAN FESTIVAL INSTALLATION
“PARTICIPATION AND IMMEDIATE EXPERIENCE,’ AND WITHOUT THE INTERACTION BETWEEN THOSE ON THE SWINGS THEN THE OSCILLATED PATTERNS WOULD NOT EXIST.” 18. COMPLETE.indd 22-23
The ethos of the Burning Man of self-reliance and communal
These processes were outlined by Dan, he explained that the
nature is represented in Dan’s work, he explained that Burning
‘entire installation is modeled using open source parametric
Man is all about ‘participation and immediate experience,’
modeling software called Grasshopper,’ and as for the
and without the interaction between those on the swings then
materials used: a CNC machine cuts the timber and plastic
the oscillated patterns would not exist. The two are so
tubing and can be laid out ‘laminated and bolted together,
intrinsically linked that even the sand box at the Kinetica Art
with a schedule of tube lengths and numbered pre-drilled
Fair ‘was intended to replicate the Black Rock Playa in which
holes to make onsite fabrication as simple as possible’ he
Burning Man is situated,’ which is the arid desert in Nevada
explained. This was also the case with the prototype, the
where the festival is situated.
same process was utilised. Hopefully Dan will get the funding he needs to make his giant pendulum out in the desert, if you
As brilliant and harmonious the design, Near Unison owes its
are going to the Burning Man Festival be sure to check out
creation to the advancements in technology and software.
Near Unison, you never know you might just learn something.
19. 23/04/2013 08:06
GENERATION GENERATION GENERATION GENERATION GENERATION GENERATION
WELCOME TO THE CENTREFOLD OF OSCILLATOR. THIS IS AN INTERVIEW WITH THE ARTISTJONTY HURWITZ. JONTY’S ANAMORPHIC SCULPTURES WENT VIRAL WITHIN MINUTES. I SIMPLY HAD TO FIND OUT THE SECRET TO THIS INTROSPECTIVE AND ASTONISHING WORK. THIS LED ME TO SOMETHING ELSE ENITIRELY... Generation Pi, according to South African Born Britain-based
to. Even when you send an SMS off you phone on the walk
artist and scientist, Jonty Hurwitz, is a generation defined by
back home, ‘all that data is being shared somewhere else,’
sophisticated algorithms that surround us at all point of our
explained Hurwitz. All these droplet information blobs within
lives. Math influences and controls everything around us,
the sea of cyberspace are currently creating a pseudo-
specifically these algorithms, which are computational
personality, or at least a personality that is outlined with all
equations that decide and work out a number of different
your information.
problems. They are embedded within our culture practically under or noses. Their grip tightens with every transaction
These ideas are embodied in his artwork. A series of sculptures
that is completed, ossifying and calcifying until they are
went viral on the 22nd of January 2013 through the visual
completely submerged within society.
arts blog thisiscollosal.com. The images depicted a series of anamorphic sculptures, from afar they look like surreal hunks
A good example of one that is widely used is Netflix’s
of metal but when reflected in a cylindrical mirrored post,
Pragmatic Chaos algorithm, which suggests the next film for
their true form is revealed. Like illustrations to a story, these
you to watch. Amazon also have an algorithm that suggests
artworks are intended as products of the Generation Pi era, a
books, clothes and other items that are similar to your recent
call to arms if you will.
purchases and this is just the tip of the iceberg of our existence in conjunction with these hidden deciders. Hurwitz insists that we are a generation represented by a series of data that is left behind us where ever we go that forms an extension of
‘THE BEAUTIFUL NATURE OF SCULPTING: A HAND POSITION OR A POSE OR AN EXPRESSION ON A FACE.’
our consciousness through something called the Meta Ego, which essentially is your online presence.
Using 3d scanning Jonty captures his subject in ‘microns of detail; the pores, the wrinkles’ he then uses digital sculpting
Hurwitz proposes that the largest evolutionary step was
through something called digital clay. This is where you have
roughly around 200,000 years ago when our predecessors
your design in a 3D model in clay, ‘you can work with it in that
picked up a piece of chalk and drew on the cave wall in which
way,’ he explained, ‘the beautiful nature of sculpting: a hand
they dwelled. This was the spark of a new era of development
position or a pose or an expression on a face.’ After capturing
and evolution of the consciousness, which is now represented
and sculpting, the mathematical aspect comes into play. This
in every thing around us. In 2013, Hurwitz offers a notion that
is where he uses animation tools to apply distortion to the
there hasn’t been a more relevant moment in art as now,
anamorphic pieces and slicing to the perspective pieces. The
‘within the last ten years, we are at that point again. I think we
perspective artworks are amazing to witness. What first looks
are at the moment of the Meta Ego.’ Wherever we are on this
like a series of fragmented images; when looking from a
planet there is always a trail left behind us. This digital
straight perspective, a straight view, they all align and reveal
footprint is a giant pool of Meta information in the cloud that
a whole image.
represents in a ‘fundamental way, who we are.’ The significance of the animation tools is the ease in which Even something as benign as leaving your house to get a
you can make 2D objects 3D and vice-versa. The 3D surreal
coffee, you are picked up on CCTV cameras; the recordings
sculpture, when reflected in the mirror post is reflected as a
are saved and kept somewhere unbeknown to you. When you
whole 2D image of the correct representation of the subject.
pay for your coffee with a bank card that information is sent
The extent of the technological advancements that go into
to the bank and is stored on a system that you have no access
the work is what sets it apart from the rest of the art world.
REJUVENATION 21. COMPLETE.indd 24-25
23/04/2013 08:06
There are three pieces of artwork that stand out in Jonty’s collection. These three champion the idea that the human brain has limited processing power ‘we look at these objects and our brain doesn’t have the capability to do the transformation required to make sense of the information,’ explained Jonty. Rejuvenation is the piece that has been credited the most and also the piece that embodies the idea of Generation Pi and the Meta Ego the most efficiently. It was, according to Jonty, inspired by a ‘dear friend’ who was hugely successful in the world of telecoms that committed the next phase of his life to helping the cause for the human genome research, which in layman’s terms is the research into expanding the life spans of our curious species. He illuminated that the hand in rejuvenation is to some extent about the researchers and scientists taking an ‘illusive data set of the human genome and desperately trying to make sense of this information that is at our fingertips, to find the anamorphic point where we tweak that gene or that aspect of the immune system and suddenly our cells stop dying and perishing.’ The other two pieces refer to different facets of Generation Pi. Yogi banker for example is inspired by the economic collapse of recent times and the ‘convergence of seemingly random data into probabilistic algorithms,’ expressed Hurwitz. These convergences are surveyed for risk engines of both harmless processes like dating sites to the more sinister ones such as those that propagate the stock market in Wall Street. As well as being an artist and a scientist, Jonty is also the co-founder of Wonga.com. He explained his importance of being part of that algorithm, making judgment calls in a ‘millisecond’ on the financial state of the person in question as well as highlighting that people need to understand what happens in the background. For example, using your debit or credit card to make a transaction brings up a series of ulterior motives that the said person is not aware of, ‘can this generation pyre make this transaction now?’ asked Hurwitz. These under-theskin processes look at fraud and probability and take into account the recent transactions you have made. What other information does Visa hold about your finances? All
KISS OF CHYTRID
‘IT IS A CONVERGENCE OF SPIRITUAL AND PHYSICAL, THE YOGI’S HAVE KNOWN FOR MILLENNIA THAT WE EXIST WAY BEYOND THE PHYSICAL AND SUDDENLY THE REALITY IS WE DO EXIST WAY BEYOND OURSELVES, ON HARD DRIVES AROUND THE WORLD.’
of this is being considered to make a probabilistic decision, Jonty claims he owes it all to the ‘engineering journey, finding
as Jonty described, ‘whether or not you’re allowed to buy
these amazing technologies.’ Technologies such as CNC
that jumper at gap.’
machines, 3D printing or even specialist manufactures ‘who make perfect mirrors for instance.’ He added that he wasn’t
On the other hand, there is Kiss of Chytrid, which is mimetic
‘shy of standing on the shoulders of giants’ giving credit
of the loss of nature within the parameters of Generation
to the ‘ingenuity of teams of amazing people who have
Pi. In the talk I attended at the Kinetica Art Fair, a gentleman
spent lifetimes honing skill sets.’
asked the question: When you die does your Meta Ego live
22. COMPLETE.indd 26-27
23/04/2013 08:06
on and represent you? This was an important point to raise,
ourselves, on hard drives around the world.’ The most
an example (The Matrix, Terminator) and that fear is ever
tools to extend our sphere of possibility,’ explained Silva, this
what happens to our data once we die? Obviously if you have
efficient way to explain the expansion of our consciousness
present. This is a fear that Jonty also shares but insists that
coincides with what Jonty is talking about. All the roads lead
ground breaking accomplishes in your life then the will be
through our Meta Ego - which resides on the Internet - is to
we think of both mind and machine as parallel. What he
to the same place; we are speeding up our evolution
recorded within the books of history, but what about those of
compare the different sizes of storage, data and processing
presents is that we live alongside machines ‘we’re waiting
through the creation of technology that is life expanding
us who are deemed normal members of society, with mediocre
power. The Internet itself is one quintillion bytes, which is an
for the day when machines overtake humans. The way I’m
and life changing. Another fear that is instilled in the human
accomplishes but reams of data nonetheless? For example
Exabyte, in real terms that is 36, 000 years of HD-TV video.
looking at it is we’re in a pre-cyborg time, there is an
condition is that of Orwellian censorship and monitoring, in
Facebook have a policy where they are entitled to keep any
The fastest supercomputer in the world (K computer, Fujitsu)
evolution of a symbiotic relationship between machines
other words Big Brother. It seemed that if Generation Pi was
data that is put on their site, so when someone dies this data
is thirty quadrillion bytes and its processing speed is 8.2
and
dependent on the internet to form our Meta Ego’s then it
hypothetically is filed and kept somewhere out of reach, like a
billion
necessarily develop consciousness.’
photograph album kept in a secret place. In digression this
This in comparison with the human brain is quite
was a fantastic question and Jonty explained that this was
disturbing frankly, the human brain is only 3.5 quadrillion
On the 27th of February of this year, Intel (iq) composed an
look at your interests on the Internet to suspiciously find
linked with Kiss of Chytrid.
bytes and 2.2 billion megaflops in comparison with the
interview with Jason Silva, considered ‘A Timothy Leary for
them on the next dodgy page you come across in the form of
megaflops
(million
operations
persecond).
humans
where
the
processing
power
doesn’t
would be all to easy for someone to monitor our internet usage and this is a visible implementation. You only have to
K computer. These figures prove that we have created
the Viral Video Age’ he too acknowledges the fear we have of
advertisements (how else would they know that I am an Aston
Chytrid is a disease that is virulent within the world at the
a machine that is both superior in data size and
becoming consumed by the technology that makes us post-
Villa fan?) Jonty however feels that the idea of a singular
moment and is killing amphibians on a humongous scale. The
processing power.
human or what he calls ‘our cyborg future.’ In the interview
monitoring system as ludicrous.
concept behind the sculpture is the apocalyptic vision of the
he explains that we have always used tools to extend
extinction of the frog, ‘all that remains is this data that us as
It is this phantasmal horror of computers taking over
ourselves, ‘we have always been cyborgs. From the first time
His view consists of governments losing control over internet
humanity has collected on frogs and so the data presented is
humanity that has informed and influenced many directors
we used a stick that we found on the floor to extend the reach
usage, ‘everyone’s got their own systems and passwords and
almost a perfect replica of a frog,’ he continued ‘when this
and films; you only have to look past the end of your nose for
of our arm to reach a fruit [on] a high tree, we’ve been using
so your Meta Ego remains a fragmented thing, and every
gets converged into a reflection it becomes a
institution only has a part of it and therefore
memory of a Meta Ego of what a frog is.’
only have limited access to probability
When or if the frog is annihilated the data
because they don’t have all of you. So this
that we have collected over the years will be
concept of ‘they’ doesn’t exist. There’s no
all that we have left, all that will be left will be
‘they’ there are lots of little ‘they’s’ who all
its Meta Ego.
have access to aspects. There isn’t some giant Big Brother that has access to all of it,
He uses the analogy of the yogi and the
that may come in time and one hopes that
expanding of our consciousness though
humanities found a peace within itself to
meditation as a way to explain the Meta Ego,
ensure that when that happens its for the
‘It is a convergence of spiritual and physical,
good,’ he explained. He concluded that the
the yogi’s have known for millennia that we
government’s of the world are losing grip, in
exist way beyond the physical and suddenly
terms of processing power, he compares this
the reality is we do exist way beyond
to the power of Amazon and their stronger grip on cyberspace something he labels the ‘disintermediation of giant institutions’ but
‘I AM NOT SHY OF STANDING ON THE SHOULDERS OF GIANTS.’
backtracks on himself reiterating that this is ‘set against the backdrop of giant organisations who have access to money and money equals processing
power
and
processing
equals increased probability in algorithms and
increased
probability
means
more
access to you.’
YOGI BANKER 23. COMPLETE.indd 28-29
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DATA TERRORISM
CARNIVAL THE KNIFE
COMPLETE.indd 30-31
23/04/2013 08:06
TWILIGHT
COMPLETE.indd 32-33
SCISSORS
23/04/2013 08:06
OUR CYBERNETIC FUTURE: PART 1. AN INTRODUCTION
There were children who were in an elite system called Gifted
once these technologies are implemented, it’s hard to see a
and Talented, they were in the top 5% of the country who
present or future without them.
were deemed so intelligent that they were lauded with extra interest from teachers, awarded gifts for their accomplishes
If Glass is integrated into schools, the powers that be will
and offered extra curricular activities. A few of these people
need to determine the best use for Glass in the classroom.
actually ended up with mediocre grades and those of us who
There will be no doubt that it will first be banned, that happens
were deemed middle of the road, cheered a muted victory
with every other technological advancement, they put the
when our grades were up to their standards. There were, of
leashes on it. But the possibilities are vast. A student will be connected at all times to an interchangeable environment
OSCILLATOR AND MATT LEVER TRY TO COME TO GRIPS WITH THE NEW GOOGLE GLASS TECHNOLOGY AND WHAT ITS IMPLICATIONS MIGHT HAVE ON EDUCATION IN THIS TWO- PART DEBATE.
Google Glass is a wearable computer; it is the next step in
course, those who were doomed to the other side of the
cybernetic involvement. Hailed as post-smartphone, the
school. In smaller classrooms where they taught the younger
with interactional tools, there would be no need for text books
device has the ability to take photos, record video and make
children sometimes, these few were almost outcast from the
or any other kind of distractions because it would be simply
calls just by telling the device that’s what you want to do; this
rest of the school. Don’t get me wrong there were the few
within your view. There is also the prospect of additional apps
is just a fraction of what the possibilities are for this device.
individuals who made it harder on themselves and were at
that would allow the student to use Dropbox, email and social
They are in the form of glasses frames and have a transparent
times extremely unruly. But there were the few who were
media without even using their hands, saving, sending and
window in the top right corner, there are also options of
simply forgotten, pushed along and treated like they were
sharing information is simply a command a way.
having your prescription fitted to the frames. The functions
different. Sometimes the reason for this was because they
allow you to follow directions while having Google Maps in
were suffering from some form of disorder, sometimes
The most prominent caveat of Glass is the constant use of a
your eyesight, you can record your speech and it will turn it
because of abuse at home and school alike.
web browser in the top right hand corner. This gives the
Our inability to see past the end of our nose hinders our
any fact, anywhere, anytime using the Google search engine.
Imagine a future where something like Google Glass was a
internet at any point. Things like on the go research, searching
progression in evolution. There is no agreeing or disagreeing,
As brilliant as this sounds there is also the question of privacy
permanent addition to society and like the Iphone and other
for information, making notes and book marking important
whether it is right or wrong, that our technological
that surrounds the debate. The final feature of this device is
smart phones, readily available. Like all schools, phones are
information to recall at a later date could never be so easy
advancements are the next stop in our evolution. The reality
the ability to broadcast from well… wherever you look, which
banned and having a phone in an exam is deemed as cheating.
and simple. Like I said above, schools would need to facilitate
is that there is no ‘if’ bur rather ‘when’ our merge with
is a problem of course, sharing each and every intimate
But imagine the possibilities of something that is used day-in
its use within the classroom as well as examinations.
machine will inevitable happen. It is a daunting prospect that
moment with the world doesn’t fill me with security and only
day-out, as a necessary device, which has the magnitude of
Hypothetically it could revolutionise the way exams are taken
the loss of humanity will be so great that we will cross a point
bolsters my paranoia of being watched and recorded
Google’s search engine to be utilised at any moment. At the
and created. The government of this country, in the later part
everywhere we go. You’re pretty much signing a contract
moment Glass is extremely expensive to buy and it is also
of last year, was taking precautions in bringing about an old
with Google to insert a CCTV device in your bedroom and
only in the prototype stage. However like tablets and smart-
form of teaching and examinations. They were trying to move
This is reflected in something called the singularity, which is a
toilet that goes straight to their headquarters, not only that
phones they become more readily available as time goes on
backward and change GCSE’S into the more draconian
term borrowed from physics. Generally meaning our
but you also become like some form of agent for Google, the
and like the introduction of the Ipad and tablets into academia,
Baccalaureate certificates. For me this was simply a glimpse
technological advancements will move at such a rate,
new level in espionage.
of no return and remain cybernetic forever.
student, as long as there is a connection, access to the
into a message, It can translate your voice and you can get
humanity wont be able to keep up and we will have to physically converge with machines in order to survive. There
Wearable computation is not a new concept but the difference
was a time when machine over taking man was nothing but a
is it’s Google’s colossal search engine available at any time,
dystopian vision, especially within the cinematic industry
which is behind the device that lends it such power. The
(IRobot, Blade Runner) it’s almost surreal to the point of
extraneous aspect is now void as you’re able to wear it like
disbelief that these ideas are just around the corner. The
any other pair of prescription glasses or sunglasses, if you
truth is we are already cybernetic. Those rectangle devices in
consider that glasses are also another technological advance
your pocket attest to the possibilities of our future: pin-point
that let the blurry see, well this seems to be further
GPS from satellites in space, interaction with people on the
advancement that allows us to see straight into the cloud, our
other side of the world, being able to shop without setting
vision could never be clearer.
foot in a store. All of this is available to you on your lunch break, eating at a place where you managed to get 25% off
When a new technology is introduced, how it can influence
due to a voucher that you attained from an app store on your
education is always the first port of call. When I was at school
smart phone. We still however detest that this makes us
the smart kids were hailed as those who were good at recalling
cybernetic. One of the reasons why is because these devices
facts, or remembering processes that allowed them to solve
are separate from our persons, imagine if that search engine
puzzles. Schooling has always been measured on acute
was permanently plugged into your frontal lobe, or you could
memory and repetition, those who excelled at this were
take photographs and videos with your eyes alone.
rewarded, and non-compliance with the system was punished.
30. COMPLETE.indd 34-35
31. 23/04/2013 08:06
‘WITH TECHNOLOGIES LIKE THIS ON THE HORIZON, EDUCATION SYSTEMS SHOULD BE LOOKING AT HOW WE CAN USE THESE TOOLS TO BRING ABOUT CHANGE AND PROGRESS, FOR THIS GENERATION AND THE GENERATION AFTER THAT, NOT DISMISS THEM AS DISTRACTIONS OR CHEATING.’ of antediluvian politics trying to bully the education system
Say if that child who was in the ‘additional help’ unit had all of
back into remission. How could that be? With technologies
those facts that their differently working brain could not
like this on the horizon, education systems should be looking
retain, how would they perform then? They might have a
at how we can use these tools to bring about change and
completely different viewpoint in completing a task rather
progress, for this generation and the generation after that,
than someone who has been programmed to think a certain
not dismiss them as distractions or cheating.
way. It could raise the bar in the information age; the information poor would have a source that would make it a
There are some fantastic possibilities for Glass within the
level playing field.
classroom. Capturing video and live streaming are prominent facets of Glass and this could be utilised in certain ways. For
Dyslexia is readily linked with creativity. John Stein, professor
example, if a student was ill that day a friend or a teacher
of physiology at Magdalen College, Oxford has often
could live stream the lecture from the classroom straight to
commented on the link between the two, ‘research has shown
them at home resulting in that student not missing the
differences in the brain structure of the dyslexic, and this may
lecture. That lecture you missed? Glass can also transcribe
explain why they are more creative. Dyslexia facilitates
what the teacher is saying into text so it can be sent or shared.
intuitive and lateral thinking.’ Half of the people at the University of the Creative Arts, the university I attend, are
There is also the idea that students could shoot short videos
dyslexic, studying draining and demanding courses in fashion
and images for presentations, documenting research with
design and the like. If there was a form of cybernetic evolution
relative speed and ease while on the go. This would be a huge
that made traditional education void and allowed these
advantage for students studying journalism, being able to
people who are deemed insufficient within society to be able
capture that moment without getting your Iphone out or
to recall facts like those who are deemed intelligent, then
clunky SLR. It would also revolutionise the way we conduct
creativity might be able to have free roam.
interviews. If Glass can transcript what has been said then there is no need to do this manually, plus it could be shared as
This is a grandeur idea and may seem completely insane to
soon as the interview was complete. This does however,
some. But there is also a side to this argument that those who
impede and co-inside with the privacy issues, we wouldn’t
disagree with the above might consider this notion. It could
want a series of cybernetic journalists encroaching on
levitate creativity. In a time where the creative class and all its
people’s privacy. I don’t think Leverson would agree with that
affiliates are ever present, it could bring this to the forefront
very much.
of our information war. Human ingenuity would never be so important. A level playing field of information would mean
Another educational prospect would be learning languages.
that those striving for greatness would need to increase their
Glass allows you to translate languages; it provides real-time
thinking and it could spur on new development a lot quicker
translations in the form of text. You can ask it to write and
than it is all ready moving. I’m not saying that this technology
spell for you ‘good day’ in Thai, you simply just have to repeat
will replace schools, we need schools for secondary
the pronunciation. This is of course is a double-edged sword,
socialisation, but it could emancipate us from the archaic
what is the point of learning a language when a device can do
systems that are in place and help those who are
it for you in a split-second?
simply ostracised from the rest of the system. I for one, am hugely
excited
for
the
possibilities,
I
just
wish
I would be around for it.
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OUR CYBERNETIC FUTURE: PART 2. A RESPONSE BY MATT LEVER
Education is big business. The UK spends just under £60bn,
free education would come true. The barriers to education
roughly, on education every year. That’s a large sum of
would be gone, knowledge would be freely available to
money. And it’s necessary, too. We don’t particularly want
everybody, and instead of focussing on the nitty-gritty we
those miniature humans with their blank slates to remain
could devote our time to creativity and innovation, with
blank when they’re all grown up and full-sized, so instead of
everybody starting off from the same level playing field. Want
using that money to bolster our ailing health service or help
to know the melting point of beryllium for some reason?
some homeless people into new digs, we have little choice but
Google has you covered. No need for school.
to keep pumping all of those billions into those expensive daycare centres that we call schools. What if we didn’t need to send children to school, though?
THAT BERYLLIUM THING, BY THE WAY? IT’S 1,287
Teacher-free, technology-driven education is a common subject in science fiction. In the Matrix we see that when you
I know this because, as I pointed out when all of this was first
want to learn how to, say, kick somebody in the face while
suggested to me, we already have access to the Internet at a
dressed like a Goth who works in the banking industry, you
moment’s notice. Google told me the melting point of
just plug your brain into a computer and away you go. It’s
beryllium through my laptop just now, but I could just as
instantaneous, it’s painless (except for the person you then
easily have asked it via my smartphone (which, similarly to
kick in the face with your new knowledge), and more
Google Glass, I always have at my disposal), my tablet
importantly – it’d be cheap. If we had access to technology
computer, my games console, my MP3 player, or my TV. The
like that, we wouldn’t need to support a huge infrastructure
Internet has never been closer or more pervasive, and to be
of schools anymore.
honest, I doubt it’ll get any closer until we have modems and web browsers installed in our brains. Google Glass is just a
Nor would there be any kind of ‘educational divide’ either. The
different way of accessing it.
days of one child suffering from a poor education because of the postcode he lived in, with another child in a different
And despite this unprecedented access to the World Wide
postcode going on to become a theoretical physicist because
Web, the largest repository of human knowledge ever
he had richer parents and lived in the catchment area of a
constructed, we still have teachers, schools, textbooks and
much better school, would be gone. Computers don’t care
idiots. Why is that?For one thing, having access to something
about where you live or how much money you’ve got. It was
isn’t the same as having the desire to make use of it. Give a
suggested to me the other day that we may already have that
child – or an adult, for that matter – an iPad, and you’re more
kind of opportunity. Google Glass, the new hands-free
likely to hear the sound of miffed birds being catapulted at
computing technology that you wear on your face, is the
pigs than you are a lecture on quantum mechanics.
closest we’ve come so far to having a direct line from a computer to the brain - the ultimate fantasy of
In Sugata Mitra’s “student-driven learning” virtual classroom
post-humanists everywhere.
experiment, for example, it was found that while there were some significant benefits to the notion of a virtual classroom
With such technology, the theory continued, students would
(children learning at their own pace, encouraging independent
have immediate access to the entirety of human knowledge in
curiosity) when it came to leaving them unsupervised,
the form of the Internet, and all of the benefits of a teacher
children quickly went off-task. Any fleeting motivation for
36. COMPLETE.indd 40-41
23/04/2013 08:06
YEAR OF THE GUN
entertaining
they’re just memorising facts and figures. To continue the
diversions like video games or funny fart websites. This
Matrix example from earlier - it’s all well and good having a
probably isn’t a surprise to most people; children are
bunch of kung-fu moves implanted into your brain, but
procrastination-fuelled mischief machines by nature. But
knowing the theory behind the moves and actually being able
imagine if this same experiment were to be conducted by
to put them into practice are two very different things. I could
simply handing a child an iPad and leaving them to their own
hop online and study kung-fu moves right now, but without a
devices (so to speak)?
teacher to guide me in person I doubt I’d be winning any fights
self-education
was
supplanted
by
more
any time soon. If children still require adult supervision to learn effectively in such an environment, why not employ a supervisor who’s
Lastly, and perhaps most importantly, while the Internet
capable of educating them in tandem with the technology, i.e.
certainly does hold a huge amount of knowledge within its
a teacher?Additionally, there’s an esoteric benefit to
web of servers, a large portion of that knowledge is inaccurate
traditional schooling that technology can’t replicate, in my
or simply wrong. The World Wide Web is not peer reviewed
opinion. While Google can teach people innumerable facts
and it never will be, and there’s a danger in relying on it too
and figures, if they are so inclined to look them up, it cannot
greatly for information, particularly for naive children. Does
teach people to think for themselves and, I would suggest, it
our education system have flaws? Yes. Could technology play
actually discourages such creative thinking. It’d be like
a greater role in classrooms? Certainly. Should teachers be
replacing the curriculum with Cliff Notes; all of the answers
replaced entirely by technology? No, I don’t think so. Even if
would be presented to the student without really teaching
technology existed that could realistically replace a teacher, I
them to think things through for themselves.
still think the human element is a necessary evil in the development of fresh, delicious minds. Google Glass and its
Without a teacher to drive children forward, to engage with
ilk are interesting technological advances, but I don’t think
them, to make them question everything and to give them the
we’ve reached the next technological singularity just yet.
mental tools necessary to answer those questions effectively,
38. COMPLETE.indd 42-43
39. 23/04/2013 08:07
2012 was coined the ‘year of the gun’ by Helen O’ Neill of
this software and it shouldn’t be censored, he explains in the
Associated Press. It was the year where America saw many of
documentary with Vice (Click, Print, Gun) that it is more than
its states under fire, fifteen to be precise, resulting in sixteen
an argument involving the second amendment, “its more
mass shootings across America. In Newtown Connecticut,
radical for us, this is happening all over the world and we say
twenty-year-old Adam Lanza shot dead twenty children and
“good” you should have access to this, you simply should.”
six adults in the Sandy Hook element school massacre, with the AR-15 automatic assault weapon. What came after this
It is not called the World Wide Web for nothing; if Defense
was restrictions on gun laws. President Obama called for
Distributed are uploading gun parts on to the internet through
twenty-three consecutive actions to curb gun violence this
Defcad then it would be as easy to print them in other
included universal background checks as well as a ban on
countries as well as America. Gun proliferation in the UK has
automatic weapons and high powered magazines.
always been controlled. Some of the first gun laws date back to the 17th century; they have become stricter with every act
Along side this blood shed there is a man named Cody R.
that is put into place. This has resulted in one of the lowest
Wilson a twenty-five Texan law graduate self appointed
rates of gun homicides in the world. There were 0.07 recorded
‘crypto-anarchist’ who’s mission is to create and publish a
intentional homicides committed with a firearm per 100,000
CAD file for a completely 3D printable firearm, one that is
inhabitants in 2010 compared with 3.0 in the United States.
accessible to anyone who can download and have the right
The Sandy Hook massacre spurred on organisations like
tools to manufacture them, he has aptly dubbed this the
Mom’s Demand Action for Gun Sense in America, one of their
‘Wiki-Weapon movement.’ All of this is possible through his
campaigns involves Kinder Eggs. Believe it or not but these
company Defense Distributed.
chocolate eggs have been banned in America since 1938 due to a law prohibiting inedible objects inside food, which could
3D printing or additive printing is a process where a CAD
pose a hazard to young children. However children can buy
(computer aided design) is created, it is then sent to a 3D
the AR-15 assault weapon shell of the internet with relative
printer where it prints the CAD design file by starting at the
ease, it’s just ludicrous.
base and applying a series of layers. The part of the gun that he is trying to create is something called the lower receiver,
Is this purposely disruptive person showing us a vision of the
which is the mechanism that houses the trigger. The rest of
future? If the internet is to become more prolific and
the gun is an addition to this. This is the part that is serialised
potentially a permanent facet of our future, then surely
and makes the shell a firearm. The model that Wilson is using
populating it with homemade gun’s is a bad idea? It’s common
is the highly customisable AR-15 assault rifle, which is
knowledge that the internet is populated with teenagers.
morbidly the same weapon used in the Sandy Hook massacre.
Weaponry and war are marketed to children way to often and Britain is not used to firearms. Increasing popularity of games
The ATF, which stands for Bureau of Alcohol, Tobacco,
such as Call Of Duty, which have a barrage of weapons that
Firearms and Explosives (apparently), regulate the lower
those who play these games have an interest in. If 3D printing
receiver. The rest of the weapon is not serialised and can be
becomes a commodity in British homes, who’s not to say that
bought online, a child can buy it online. This is something
those with an interest in firearms wont use the CAD designs
Wilson thinks is a ‘thing of beauty.’ Ammunition is also
to print unmarked, untraceable and unlicensed firearms. This
relatively simple to come across in America, it can be bought
is purely speculative, but the rate in which technology is
over the internet with barely any regulations, making it
moving might mean that the advanced materials and
easy for gun users – and now gun makers - to lock and load
knowledge to print guns will come sooner than we expect.
their weapons. And what if that knowledge was to get into the wrong hands? In December 2012 MakerBot, who create domestic use 3D
This year alone has seen three men from Birmingham found
printers and own a 3D printing search engine called
guilty on charges of conspiracy to commit terrorism, what if
Thingiverse, decided to crack down on CAD designs of guns
these individuals were to get hold of this information and
and gun parts and subsequently took down all designs that
process of manufacture? The consequences would be
were associated with firearms. Wilson’s reaction to this was to
catastrophic. And this wouldn’t stop just in the West, this
create his own 3D printing search engine called Defcad, which
could be a global problem. This world doesn’t need firearms
is a search engine focused on guns and guns parts. His
to be readily available and home made, we see the
argument for this is that everybody should have the right to
consequences of home made weapons, such as home made
40. COMPLETE.indd 44-45
bombs, all the time. If guns are all ready being made this way,
manage micron-wide measurements are very far away from
then there is no stopping people creating parts for explosives
home printing. But do not cast this technology out as a trend
and many other destructive weapons.
or fad, this really is the future of things to come. We could even have it within our front rooms within the next fifty
On the 15th of April, also known as Patriots Day, there was a
years, but if search engines like Defcad are prominent;
succession of explosions in the uptown district of Boston. It
we will see a dystopian future unfold, anarchistic to the
was targeted at the infamous Boston Marathon. Three people
point of self-annihilation.
had died in the blast and numerous others injured. What if the people responsible had access to 3D printing? Would it have
Wilson see’s this as a right and I understand the reasons why,
made their mission easier? Like I said there isn’t the
these technologies – in his eyes – should not be censored.
technology and materials advanced enough to make this
They could be compared with censoring freedom of speech.
domestic yet. MakerBot is the closest to an affordable home
Freedom of speech does its damage, we only have to glance
printer, you can pick these up for around four hundred pounds
across at the right wing EDL nuts to see the consequences of
and like all technology; it becomes cheaper as time moves on.
verbal abuse. But one thing freedom of speech doesn’t do is
Even though 3D printing is moving in leaps and bounds, the
physically kill. 3D printing has a broad future, one doused in
stage we’re at is still very limited. It is far from able to print
both positive and catastrophic tendencies. I really believe
precessional intricate pieces such as the lower receiver, the
that we need to revise how this software will affect our
materials are expensive and the fastidiousness needed to
futures, before its too late.
41. 23/04/2013 08:07
AMON TOBIN LIVE REVIEW LIVE AT THE HAMMERSMITH APOLLO
BY JACK PADURARIU
I admire Amon Tobin for his tenacity. Over a century of
The calculated decisions of his hands operating a sampler are
countless individuals’ progression and exploration has led us
the only glimpses of his body we get, the ambiguous accidental
to an encompassing, immersive manifestation of music, as
shadow cast on to the stage curtain and his arctic deep
detached and intangible as it was before the invention of the
electronic informing the crowd about this man’s life than any
physical format. Artists keep pushing against accepted
obtuse rabble-rouser DJ ever could. When his ambient
standards, breaking out of the rigid confines of the status
persuasions lurch to an ominous close, he stands up, zips his
quo; applying philosophy first, so as to make room for artistry.
coat up, puts his laptop in his bag and climbs down the side of
But the cumulative ponderings and musings of all these
the stage, and leaves the building by the fire exit in full view
restless misfits and pioneers over a timespan of generations
of a reeling crowd. The concept of ISAM seems hilariously
makes it difficult for one human to unearth their own territory,
selfish after the muted, humble ferocity of Actress. When the
to unravel a widely regarded standard.
stage curtain is lifted, my heart sunk.
It’s one mind versus all of history’s, and for that reason, whilst
The press campaign, having gained momentum over two
Amon Tobin’s grand ISAM adventure doesn’t shake the very
years of high definition youtube videos and RA testimonies,
foundations, his attempt at orchestrating something with
swallowed whole the comparatively puny actuality of Tobin’s
little preceding it is highly commendable and sees him cross a
ISAM, which was far from towering, far from overwhelming,
creative valley with apathy flowing through it. ISAM’s heritage
far from impressive. Seeing past the sobering reality squatted
is as much tied to the hyperbolic Technicolor stage marvels
onstage, that of blown up slightly grimy lego blocks with a
that Daft Punk, Justice and Deadmau5 have employed to
pretty primitive projection device pointed at them, was
impress a crowd in to strobed submission since the turn of the
difficult to overcome. Unless you were stood directly in the
millennium, as it is to the theatrical overloads that were so
middle of the venue, the myriad of surfaces relinquished very
popular amongst pompous rock bands like Genesis, Iron
little in the way of cohesive visuals, and left the majority
Maiden, and Queen during the decade of inflated importance
preoccupied with congregating in to a tight mass of sweaty,
that was the 1980’s.
male Amon Tobin fans.
Upon reflection, these gargantuan extrapolations upon what
Tobin begins with his lengthy collection of grinding, glitching
is fundamentally just noise have been widely regarded as self-
soundscapes, leaving plenty of time for contemplation and
indulgent, and best left in the capable (?) hands of Andrew
waning interest. After his first ‘final bow’, he loses the frankly
Lloyd Webb and not third tier prog tosh like Queensrӱche.
preposterous astronaut costume, and launches in to a
There is certainly a whiff of bloated ego wafting about Tobin’s
frighteningly powerful set of eclectic drum and bass, dubstep,
endeavour, but regardless, I was so excited to watch the ‘for
ambient and everything in between with masterful tact and
one night only’ spectacle of ISAM 2.0 coming to London.
nuance. However, after being stood motionless for an hour, the crowd had were anxious to move to the unexpected
Actress manages to thoroughly unnerve the thousands
battery of cannoning, super-powered dance. A second ‘final
strong crowd, forcing them back with introspective ripples of
bow’ is undertaken, followed by two more songs of much
modified noise. The regal red warmth of the Apollo collided
the same, and it comes to an end. Once again, I admire
with the cold snaps of contortionistic snare at a staggering
his tenacity, alas, tonight was a showcase of grubby
angle, but it seems as if the London producer is revelling in
sci-fi pornography.
this, crouching behind a solitary mixing desk placed amongst the barren desert of the stage.
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23/04/2013 08:07