THE MANUAL THE TRAINING FOR FUTURE CRIMINALS
the rodina design
displacement
group 1
BAD ASS BAU HAUS
the rodina workshop
9 -  1 2 m a y 2 0 1 4
THE TRAINING FOR FUTURE CRIMINALS
o p en on your o w n res p onsi b ilit y
design
displacement
group
chapter 1
THE LOOK 2
chapter 2
WHAT TO DO 3
chapter 3
COOL STUF C 4
chapter 4
TECH CRIME 5
THE LOOK AND BEHAVIOUR
1. ALWAYS SWEAR
3. LISTEN TO BLACK METAL
4. TAKE A TRIBAL TATTOO
5.TRAIN
6. FIND YOUR BONNIE OR CLYDE PARTNER 6
2. LOVE
SATAN
BICEPS
7. TAKE A GANG BADGE OR JACKET
AL
CAPONE
STYLETIP:
SUIT
ALWAYS
GOOD
Al Capone was a notorious gangster who ran an organized crime syndicate in Chicago during the 1920s, taking advantage of the era of Prohibition. 7
W H AT TO D O 1. Steal wallets 2. Do an hold-up 3. Blow-up something 4. Be violent
2. Do an hold-up! 4. Be violent! 3. Blow-up something!
8
9
COOL STUFF TECHNOLOGY
39,
99
€
IS THIS A PHONE ?
A PEN ? NOOO ! IT’S A SPY PEN !
59,99 € 9€
69,9 A WATCH ? NO ! IT’S A CAMERA ! 10
NO ! IT’S A LETHAL WEAPON !
T E A M P L A Y
FRIENDS MEAN FUN
YOU ?
TOGETHER YOU CAN :
START YOUR OWN MAFIA 11
A NICE LOGO YES !!! SO COOL ! THIS ONE ? NO !!!
IT’S A DRAGON
IS WHAT YOU WILL NEED 12
YOUR COMPANY
MORE MONEY 13
TECH CRIME THE CORE 14
B e s i d e t h e T h i n k a n d r e s e a r c h : science, war- How development of fare a n d technology can change space rese- the old fashioned criarch, the cri- me? Uncover undiscom e i s o n e o f vered potential fields of the most in- criminal acting. Propon o v a t i v e p a r t se how the hi-tech can of human cul- b e u s e d t o c o m m i t c r i ture. Only me. Invent tricks and well designed c h e a t s , w h i c h a r e n o t crimes can be r e s t r i c t e d b y l a w . A n d c o m m i t t e d turn your super villain successfully. abilities to visionary T r y t o d i s - design. place yourself to the role of a criminal of 21 century. M a k e p e r f o r m a n c e , booklet, website, identity, tool, weapon etc… 15
The aesthetics of crime Like any good detective story, art history is filled with enigmas, myths, and riddles waiting to be unraveled. Solving these intellectual puzzles is a common pleasure and few are immune to such a cultural temptation. Although the link between art and crime can be traced back to ancient times, Thomas De Quincey explicitly theorized this connection in his notorious essay “On Murder Considered As One Of The Fine Arts” (1827). The nineteenth century also saw the growing importance of photography both in the development of criminology and in the new sensationalism of the tabloid press—two phenomena that popularized the genre of the detective story. Cinema soon became the perfect medium for capturing the dubious charm of violence and transforming it into pleasurable images. Following De Quincey’s ironic proposal to analyze murder from an aesthetic point of view, The Crime Was Almost Perfect is an exhibition that invokes the spirits of visual art, architecture, cinema, criminology, and the modern crime genre, trans16
forming the rooms of Witte de With and the streets of Rotterdam into multiple ‘crime scenes’. Beyond crime, there is Evil. Thus The Crime Was Almost Perfect necessarily examines the relationship between ethics and aesthetics. Questioning the role of authorship, authenticity, trickery, and fraud, the exhibition blurs the dichotomy between ‘good’ and ‘bad’ taste, while also highlighting the double bind of ‘crime as art’ and ‘art as crime’. Some of the works in the exhibition reflect the detective’s obsessive curiosity and interpretation, the narcissistic identification with the criminal, as well as the spectator’s fetishistic pleasure. A few projects deal with authenticity and frauds that could be considered as ‘art crimes’; some play with the artist’s role as subversive and marginal; others with law, order, and transgression; certain projects tend to represent crime as macabre and sublime as in the cinematic; while a few proposals provide evidence of public historical events—social, political crimes. A few projects could be said to combine selections of these main tendencies. Eva Grubinger puts up a flag and a brass plaque on the facade of Witte de With, turning it into the Embassy of Eitopomar, a utopian kingdom ruled by the evil master villain Dr. Mabuse. Close to the entrance desk, a wall painted by Jean-Luc Blanc resembles the cover of a pulp magazine signed with the show’s title. Monica Bonvicini presents a large hanging sculpture resembling something like a macabre carousel of harnesses casted in black fluid rubber. The ductility of the harnesses seems to combine sexual desire with the exploitative force of labour where protection turns into torment. “Why is desire always linked to crime?”, a quote from Karl Holmqvist’s film, will be constantly on the spectators’ mind, whereas Rupert Norfolk’sGuillotine represents the ultimate symbol of capital punishment, a disquieting presence that remains emblematic. In the film Murder in Three Acts, Asli Çavusoglu mimics the television crime genre (exemplified by the series Crime Scene Investigation) showcasing exhibitions as crime scenes and art works as weapons, while Fabian Marti le-
aves imprints of his hands throughout the gallery spaces. Gabriel Lester creates a cinematographic loop of crime scenes in a park and projects it onto the surrounding walls and on the visitor, fetishizing violent images. Installation addressing Jean Genet’s life and work as a writer, an activist, and a thief, while Dora Garcia invites the audience to steal a book. A monumental installation by Kader Attia evokes an oppressive labyrinth where images from his own private collection of newspapers and comic strips repeatedly depict the non-Western person as a beast or monster—like in the manipulations undertaken by colonialist propaganda. Jim Shaw ironically portrays businessmen as zombies through a set of paintings and a film, while Saâdane Afif presents the Centre Pompidou as a coffin softly killing the museum. The crime was almost perfect, 2014 http://www.wdw.nl/event/the-crimewas-almost-perfect/
17
A vision of crimes in the future, Marc Goodman, www.ted.com
if you control the code, you control the world. 18
FUTURE T O P
sampling postproduction CRIME I C smuggling S borders 3D-printed weapons PRIVACY COPYRIGHT HACKING DRONES INTERNET DNA NAROTICS BIG DATA plagiarism uncreativity
19
Drone used in attempt to smuggle drugs into Melbourne prison, say police! A man will face court next week after a drone quadcopter was allegedly used to try to smuggle drugs into a Melbourne prison. Police were called to reports of a drone hovering over the Metropolitan Remand Centre in Ravenhall about 4.30pm on Sunday. Officers found a man and woman in a car nearby with what is believed to be a four-engined drone and a small quantity of drugs. A 28-year-old Lalor man has been charged with possessing a drug of dependence and attempting to commit an indictable offence. He has been bailed to appear in Melbourne magistrates court next Monday. David McCauley, acting industrial officer for the prison officer’s vocational branch of the Public Service Association, said this was just the 20
latest in a long lines of method for getting drugs over walls. “At the end of the day if they can throw tennis balls over the wall with drugs in them, and with staffing levels the way they are, it’s going to be very difficult to stop these drones,” he said. The use of drones, or UAVs (unmanned aerial vehicles) is regulated by the Civil Aviation Safety Authority. The rules require that uncertified operators maintain a distance of 30m between the drone and other people. A spokesman for the Civil Aviation Safety Authority said it was unclear as to whether the drone at Ravenhall might have contravened these rules. “If we were to get evidence of that we could look at whether an infringement notice could be issued, however at this point we’ve got no knowledge of where the machine flew in regards to people,” he said. A recent parliamentary roundtable on drones and privacy heard from a number of expert witnesses about the proliferation of drones in Australia. Brad Mason, secretary of the Australian Certified UAV Operators Association, told the committee: “From our perspective, what we are seeing is that there is a lot of illegal and unauthorised use of UAVs. We understand that the regulator is doing its best to try and combat that but, unfortunately, as the director mentioned before, they are so easily available and so cheap to buy these days that anybody can buy one and anyone can go out and operate one. “It is really difficult to regulate, manage and catch those people,” he said. It’s not the first time remote-control helicopters have
Another drone incident occurred at a Canadian prison when a security alert was set off by a drone. Two years earlier, Russian police reportedly confiscated a remote-controlled helicopter and 700g of heroin, apparently foiling an attempt to deliver the drugs to a prison inmate. In 2009, a remote-controlled helicopter was spotted carrying a package over the walls of a UK prison. Nick Evershed, 2014 http://www.theguardian.com/world/2014/mar/10/drone-used-in-attempt-to-smuggle-drugs-into-melbourne-prison-say-police
crime is always faster than police and law
been used to smuggle contraband into prisons. In 2013, four people were arrested after a helicopter was used to smuggle tobacco into a prison in the US.
21
Dealing crack, there’s an app for that too!
and client can each navigate to each other to complete the buy. The app even allows for price comparisons between dealers and prices can be further negotiated by exchanging private messages between pusher and purchaser. The app even has an efficient reputation management system built-in so that clients can provide feedback on their dealers, alloWell it was just a matter of time before somebody figuwing for comparison of quality and service. “1 star only for Fast Freddy—that powder he sold me was red this one out. Recently an baking powder. There goes $100 down the drain! iPhone developer created an Avoid Freddy at all costs—he’s a cheat.” What an application known as “Drug efficient marketplace! So why on earth would Apple Lords,” a program that would allow such an app to be sold in iTunes? Turns out, enable both drug-dealers and they did not. Apple rejected the application multiple users to find one another in times noting that “anything that involved the trafficreal time and space, thanks to the mobile phone’s builtking of illegal commodities would not pass the bar or in GPS chip. Hats off to the be accepted for sale.” The app developer, A-Steridrug dealers who are on the ods, thus far has not been able to sell “DrugLords” via cutting edge of two of the very iTunes. A-Steriods claims that DrugLords was never latest trends in technology acintended as an actual drug dealing application, but rather was meant only as a game. A-Steroids maincording to Gartner Research: mobile computing and locatitains that DrugLords was an example of a new class of social gaming known as an lbmorpg (location-baon-based services. The application allows drug sed multiplayer online role playing game). Since all dealers to post prices for the features described above actually worked as narcotics such as cocaine, advertised, DrugLords could have been used for acecstasy and marijuana. A tual narco sales. A-Steroids insisted, however, that convenient built-in calculator the app was purely a role playing game in which automatically determines the players competed to become the most successful prices in gram increments. drug dealer by selling the greatest amount of “virtual” Prices can be set by location, narcotics. Not one to give up easily, A-Steroids repeso that the price offered in Boatedly submitted DrugLords to the iTunes store and was repeatedly rejected. Ultimately, they rebranded gota is cheaper than than in the game as “Underworld: Sweet Deal.” While all New York or Paris. Moreover, the basic features and objectives of “DrugLords” rethe dealer’s prices are visible to their potential clients from mained in tact, cocaine, heroine and marijuana were within the app and can be adreplaced by another form of addiction: sugar. Thus justed in real-time in response DrugWars morphed into Underworld and “crack” to supply and demand. and “weed” became “donuts” and “lollipops.” Since Upon launching the app, street drugs are often referred to by their slang nadrug-users can graphically mes such as horse, candy and chips, does the chanview the location of all the ge really make any difference? In Underworld, we nearest drug dealers on a losee pretty cartoon pictures of menacing mob-like “chefs” delivering “donuts” instead of crack. Of courvely Google map and dealer 22
se Underworld could still be used for actual drug-dealing if for example it was agreed and known that a lollipop was a hit of ecstasy. Name substitution is common practice in the narco trade: after all, how many crack addicts ask their dealer for cocaine hydrochloride or benzoylmethyl ecgonine? Many have argued that crime-related games, such as Grand Theft Auto are “bad,” especially for children. I am not particularly concerned about gaming and the virtual fantasy versions of “cops and robbers” many played as kids. What is of concern, however, is the potential creation of a new form of mobile, location-based criminality in the form of an iPhone application. While A-Steroids’ intention in creating DrugLords may have actually been for gaming purposes, the application itself could have real-world criminal benefit. In our next article, we will address what an actual dedicated location-based crime app might look like, how law enforcement could use such an app for investigative purposes and how criminals will circumvent iTunes store in the future to avoid the problems faced by the developers of DrugLords. http://www.futurecrimes.com/article/ dealing-crack-theres-an-ap-for-that/ 23
Guerilla open access manifesto Information is power. But like all power, there are those who want to keep it for themselves. The world’s entire scientific and cultural heritage, published over centuries in books and journals, is increasingly being digitized and locked up by a handful of private corporations. Want to read the papers featuring the most famous results of the sciences? You’ll need to send enormous amounts to publishers like Reed Elsevier. There are those struggling to change this. The Open Access Movement has fought valiantly to ensure that scientists do not sign their copyrights away but instead ensure their work is published on the Internet, under terms that allow anyone to access it. But even under the best scenarios, their work will only apply to things published in future. Everything up until now will have been lost. That is too high a price to pay. Forcing academics to pay money to read the work of their colleagues? Scanning entire libraries but only allowing the folks at Google to read them? Providing scientific articles to those at elite universities in the First World, but not to children in the Global South? It’s outrageous and unacceptable. “I agree,” many say, “but what can we do? The companies hold the copyrights, they make enormous amounts of money by charging for access, and it’s perfectly legal — there’s nothing we can do to stop them.” But there is something we can, something that’s already being done: we can fight back. Those with access to these resources — students, librarians, scientists — you have been given a privilege. You get to feed at this banquet of knowledge while the rest of the world is locked out. But you need not — indeed, morally, you cannot — keep this 24
privilege for yourselves. You have a duty to share it with the world. And you have: trading passwords with colleagues, filling download requests for friends. Meanwhile, those who have been locked out are not standing idly by. You have been sneaking through holes and climbing over fences, liberating the information locked up by the publishers and sharing them with your friends. But all of this action goes on in the dark, hidden underground. It’s called stealing or piracy, as if sharing a wealth of knowledge were the moral equivalent of plundering a ship and murdering its crew. But sharing isn’t immoral — it’s a moral imperative. Only those blinded by greed would refuse to let a friend make a copy.
declare our opposition to this private theft of public culture. We need to take information, wherever it is stored, make our copies and share them with the world. We need to take stuff that’s out of copyright and add it to the archive. We need to buy secret databases and put them on the Web. We need to download scientific journals and upload them to file sharing networks. We need to fight for Guerilla Open With enough of us, around the world, we’ll not just send a strong message opposing the privatization of knowledge — we’ll make it a thing of the past. Will you join us? Aaron Swartz, 2008, Eremo, Italy https://archive.org/details/GuerillaOpenAccessManifesto
Large corporations, of course, are blinded by greed. The laws under which they operate require it — their shareholders would revolt at anything less. And the politicians they have bought off back them, passing laws giving them the exclusive power to decide who can make copies. There is no justice in following unjust laws. It’s time to come into the light and, in the grand tradition of civil disobedience, 25
NINE designers who’s work you want to steal 1.
2.
3.
4.
5.
6.
7.
8.
9. Work sheets
Design your own bitcoin Front
Back
Work sheets
Draw your gang jacket
Work28 sheets
STEAL THE NEW KINECT FROM THE MINESTERY
Work sheets
warning: d e s i g n : C . Va n D e n H o u t e n , R . O r a i n , C . Fa y d i t & t h e r o d i n a don’t try it in reality this booklet is for graphic design workshop at Bauhaus University
Design DisplacemenT
“ (…) is not about being naïve or trying to create a perfect world ; but it is about not being afraid to setup a new discourse ” * WWW.DesignDisplacemenTgroup.com
* gavin wade on the Quick response unit (Qru)
The group