It's a Mast

FULL POWER! Diana Avadanii Tibi Iorga Cosmin Ginju

Graphics & Layout Grafo DragoĹ&#x;

Author: Dragoş Păvăloi STAFFORDSHIRE UNIVERSITY - 2018 BSc(Hons) Concept Game Design

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INTRODUCTION Thinking of today’s urban landscape and the way it is represented within the field of visual studies that come as a personal cultural background, one clear image came into mind—that of a mast tower. The fact that mast towers and telecom lines are still present in today’s urban architecture, in a time where technology is considered to be at the peak of its evolution, made me want to find out more about their history.

Taking into consideration that I am a Senior and that I was going to write a scientific paper by the end of the semester, I started experimenting with the formal characteristics of mast towers while, at the same time, I started to look for references on the topic in order to see what work has been done on this matter. To my surprise, the best-documented information came more from the realm of technology and art at a general level, without sufficient references to the mast towers as material objects (except those that came directly from a technical guide). It surprised me how much work has been done on new media technology in the context of visual art, and it also came as a shock that most of the

extensive work on the subject had little or no regard to the materials and the structure of such technological artefacts.

Then came the necessity—It’s a Mast that I find a way to use these technological artefacts in a visual context in order to act as a portal to a more complex scenario of art in between technology and the urban environment.

Doing so was difficult until I learned how to adapt pre-existing concept in order to fit the needs of my own inquiry. As Foucault famously said: “I would like my books to be a kind of tool-box which others can rummage through to find a tool which they can use however they wish in their own area [...] I don’t write for an audience, I write for users, not readers.”

(Foucault, 1974, pp. 523-524) Though at first I’ve been skeptical of the possibility of moving concepts freely from a discipline to another, I came to the conclusion that my work could be interpreted almost the same way that Heidegger sought art as a “vision” with the mention that in my case, this vision did turn into a practical project, ready to be “contemplated” both in its analogue form and in its digital format.

This is what led me to set the aim of this project the coding of mast towers as symbols of a tech-driven urban environment, in order to raise awareness of the invisible part that technology plays in our society, and, if possible to point out new ways in which our understanding of the subject can be enhanced throughout further research.

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AESTHETICS “Ubiquitous Structures”

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Antennas and transmitters are omnipresent in all the developed countries and produce a complex invisible patchwork of electromagnetic radiations. The “industrial sculptures” are loading the roofscapes in urban areas with metal spikes arrays and pierce the horizon in rural surroundings with massive frameworks.

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A mast is an old word meaning pole or rod, suggesting a tall vertical structure that used to support watercraft or aerial for radio, television, or mobile phone signals. There are three types of phone base setups: macrocells, microcells, and picocells.

Macrocells are the mobile masts that cover broader areas, usually holding multiple carrier transmitters and other long-range public radio transceivers.

Whereas microcells are designed to leverage the signal in high demand areas, the transceivers can often be seen mounted on existing structures such as signs, traffic lights, walls, corners or on the roofs of the tall buildings.

Reduced in size, picocells are usually mounted inside of constructions on walls or ceilings, boosting the signal within home/enterprise purposes.

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The features of the towers alternate depending on the geology, climate, and demographics. Sometimes the microcells are disguised in plants, trees or street lights because of the people preconceptions or hidden in the architecture due to environment discrepancy.

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The aim of this project is to present the telecommunication masts as symbols for the super-connected society, exploring both the invisible and visible characteristics. The figures are selected from a personal archive, and the content is gathered through outdoor journeys and digital drawing/manipulations.

Most of the structures were photographed from street level, which emphasizes the impression of power and control. The process follows a mixed digital technique that first isolates the shapes from the background and secondly strengthens the edge and line quality throughout hand-drawn visual devices.

By dropping other pieces of information such as colour or environmental elements, the structures are perceived in a straightforward

manner, creating an iconographic cohesive appearance. This method enhances the silhouette readability by turning the structures in artistic subjects.

For instance, considering how these towers are balanced and constructed, there is a harmonious strong graphic aspect already embedded, which aids the composition rhythm through edge flow, directional lines, tangled wires, round transmitters or symmetrical framework patterns.

Style wise, there was an emphasis put on traditional ink drawing. The images were composed with precise line calligraphy and intentional splatters to guide the gaze around the focal points. For the layout the dialogue between straight and round shapes, including the inclination and position of the masts plays as compositional indicators in the negative space.

The idea that the world is a semiotic never ending circle and people are taught to not only recognize but to respond to the symbolic stimuli can be transferred to the current state of matter in the postmodern context, mast towers, power lines, transceivers, screens, gadgets and so forth can be identified as hyperreality techno-culture hallmarks.

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This way the mast towers can be transformed into a universal symbol that can serve both as a simulation belonging to that hyperreality or it can be used as a visual mark for gathering critics, tech enthusiasts and artist to discuss and assess the current state of the art and technology.

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ART AND TECHNOLOGY

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While discussing the possibility of coding mast towers as visual symbols of an urban techno-culture deeply embedded in the social sphere, there are a couple of events worth mentioning in order to close the gap of our understanding on the matter presenting Art and Technology in a broader economic and socio-political context.

Firstly, let us focus our attention on Art and Technology. The linking between the two can be traced even before the terms were invented, in a time where mankind used tools in order to survive harsh environments. An example would be the parietal art (cave paintings) or the crafting of the Venus statuettes, both from Upper Paleolithic. Cave paintings are thought to have a documentary purpose, whilst the statuettes might have had a worshiping attribute, being used to depict a fertility and good fortune idol [Linn, 2014].

Seeing the potential that these tools hold for the social sphere, mankind has made crafting new and better tools one of its main aims, and Art has never been too far from this phenomenon.

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The first movement of utmost importance for both Art and Technology the way we know it today can be attributed to the Illuminist Thinking of the XVIII century that lead to the Industrial Revolution. The shift from the Middle Ages to the Modern Era produced a chain reaction across all fields of social interest.

The difference between the Middle Ages and the Modern Era is that the former was guided by religious beliefs while the latter, lead by rationalists like Isaac Newton, RenĂŠ Descartes, and Immanuel Kant see science and rational development as the guiding principle of mankind. This is the time when large numbers of people moved from the rural side to the newly evolving urban landscape, a time where inventions like the steam engine, the telegraph, the printing press lead to the development of the Industrial Society. Most of the developments that occurred in this period were in part made possible by the interest that the Politic and Economic sphere manifested towards technology as a way of boosting profit [Barrett, 1997].

Within this cybernetic and techno-engaged social network, the rules have changed in every lane that interacts with the social sphere. As Walter Benjamin states, for art this is the time where the loss of the real in favour of the replica/simulation brings the work to a unique experience every time is intercepted again [Benjamin, 2008].

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As the German philosopher Martin Heidegger puts it, technology has the role to assure the storage and availability of resources in order to reduce mankind’s dependence on nature, but, by doing so, the man also becomes a resource, used as human capital, labelled according to his skills and capabilities [Boris Groys, 2018].

In this context, Heidegger sees the role of Art as being a vision of how we use things or how we get used to things. Although Heidegger did not agree with art in its material form, as the art critic Boris Groys observed, this view of art and artists as people who reveal a certain medium is still a proper claim to art [Boris Groys, 2018].

The origins of the Information Era can be attributed to the lack of control within the American capitalist economic system based on producing and distributing goods and services.

Following this logic, the development of means of transportation such as steam-powered locomotives and the development of modern communications such as the telegraph and the Morse Code have been the leading motifs of standardization, globalization, and the birth of modern means of surveillance and control [Beniger, 1986].

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Surveillance and control were originally used in psychiatric institutions or prisons, as Foucault notes in works such as “Discipline and Punish: The Birth of the Prison ,1977” and “The Birth of The Clinic, 1994”. However, numerous societies have been adopting these principles across all fields of life. Thinkers such as Keith W. Hoskin and Richard H. MacVe outline the importance of the informational flow and communication across a company. They state that control and power are enforced throughout “a series of written reports and directives that go up and down the hierarchical ladder” in order to form budgets that align with the business objectives [Hoskin , Macve, 1986].

After the Second World War, the scientist Alan Turing developed a complex machine based on the idea of the typewriter [Eberbach, Goldin, Wegner, 2004]. The resemblance between Turing’s Machine and a modern day computer comes from the fact that both prompt the possibility of universality.

The birth of the computer marked the postmodern era, by changing the perceptions about the economic, politic, and the social sphere throughout the digital culture.

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Both computer and cybernetics have developed as a tool to complete military objectives. Norbert Wiener, considered to be the initiator of cybernetics, combined Information Theory with binary computation and neuropsychology in order to form a new theory of ”control and communication between man and machine” [Shanken, 2001]. According to Wiener, cybernetics can be seen as “a set of problems based on communication, control and statistical mechanics in both machine and living cells” [S.I.T., 1967].

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Within this cybernetic and techno-engaged social network, the rules have changed in every lane that interacts with the social sphere. As Walter Benjamin states, for art this is the time where the loss of the real in favour of the replica/simulation brings the work to a unique experience every time is intercepted again [Benjamin, 2008].

Norbert introduced the concept of feedback loops, picked up from biology, into cybernetics naming it “a circular process in which a part of the output returns to the input, influencing the further development of the process” [S.I.T., 1967].

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These developments along with the birth of the digital image and the invention of the Internet [Meredieu, 2005] gave artists new mediums to explore, while prompting at the same time the use of aesthetics in our daily environment. The fact that information can be communicated from one end of the planet to the other in a couple of seconds made the Internet highly profitable for business, the fact that made the technology required to surf the net more accessible from a users point of view.

The development of these new technologies of communication meant a new array of possibilities to express oneself, a new way of thinking of the world that surrounds us, and a new visual approach that can be seen starting with the GRAV Group and the Fluxus movement. In this time, art has developed less as a passive contemplation in favour of a more social–oriented approach [Meredieu, 2005].

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As the public became more and more active in the process of producing and consuming art, new categories of art, installations and approaches have emerged. Projects such as Allan Kaprow’s “Happenings” or Wolf Vostell’s “Decollage”, which go hand in hand with the work later developed by Claire Bishop “The Social Turn”. Unlike physical art, performative acts were viewed as unique, and therefore could not be bought, consumed and be inserted into the art market.

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On the topic of digital aesthetics, Alexander Galloway notes that “Two basic activities emerge. A person may work <<on>> the digital or <<within>> it. In the former, one’s attention is directed from the outside in, taking the medium itself as its object, while in the latter one takes the perspective of the medium itself, radiating attention outward to other contexts and environments. To generalize from his statement, the first position (working “on”) is labelled modern or, when applied to art and aesthetics, modernist. And the latter position (working “within”) is labelled non-modern, be it pre-modern, postmodern, or some other alternative” [Galloway, 2016].

Communication with and within the digital space has gained great speed and complexity due to the development of the World Wide Web. The military purposed ARPANET has developed a more user-oriented approach that uses standardized communication protocols in order to maintain a digital track of whoever comes and goes on the internet. As Rebecca Jackson states in “The Glitch Aesthetic”, these protocols act on five different levels of the Internet in order to send information from the right source to its intended destination without compromising the message [Jackson, 2011].

This encouraged artists to explore the new medium and so net-art has emerged. In this context, Ray Ascot of the Dutch group Jodi (Joan Heemskerk and Dirk Paesmans) tries to challenge the limitations that the medium raises [Jackson, 2011]. For example, Jodi worked on understanding how software games work, such as Quake (ID Software, 1996) or Max Payne 2 (Rockstargames, 2003) only to change its way of functioning in order to see how users perceive a functional piece of software as a broken one. Later they came across the idea of using the Internet infrastructure as a base material in order to startle aesthetic reactions. More clearly, they explored the

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new IDN (International Domain Name) and the ASCII code in order to make a series of web portals that refresh themselves in a never ending loop. This repetition gave birth to a series of visual imagery based on the structure that Unicode can produce.

Their example is powerful both on a theoretical level and on the actual artwork they produced, part of which is due to the fact that they operated on both hardware and software in order to hack the medium and expose its predetermined state. Their actions

raise the question of the relations of power that manifest within the digital culture scene.

According to Lev Manovich, web 2.0 has become a paradigm of how digitally engaged users act across the network of Internet protocols. As he explains, the two main elements that made web 2.0 arise were concerned with the act of producing cultural artefact across an online platform. Before 2000, most of the content was generated by professional users, due to the fact that Internet was seen more as a publishing tool, whereas web 2.0 meant the expansion

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of the Internet as a medium for communication, where non-professional content represented more than 95% of the total content on the Internet. This and the development of social media platforms like Facebook or Youtube marked the change from the mass-consumption of commercial culture into the mass production of cultural artefacts by users [Manovich, 2009].

The rate at which devices and software become obsolete is constantly ascending due to the big number of people that use technological

devices in order to gain access to the digital world. The first time the concept of obsolescence emerged was in 1932 when Bernard London stated the following: “I propose that when a person continues to possess and use old clothing, automobiles and buildings after they have passed their obsolescence date, as determined at the time they were created, he should be taxed for such continued use of what is legally ‘dead‘ ” [Hertz Parikka, 2012].

Although this view has never reached the political level Bernard was looking for, the designer for producers and the businessmen saw the potential that this type of action may bring in terms of profit.

There are mainly three types of obsolescence identified by Neil Maycroft: technologic, stylistic, and superflu [Maycroft, 2009].

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For the scope of this project, we will limit ourselves to the planned technological obsolescence that makes up for more than 400 million discarded devices in America, of which 250 million are still functioning, according to the American EPA’s research [Hertz, Parikka,2012].

The mast towers are just one example of archaic, disabled type of technological device that I am bringing into discussion and the central figure of this thesis.

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What is interesting about this concept is that it surfaced a bunch of old electronics, that once were advertised as highly transparent high-tech device, now open a new field of questions related to the way technology is produced, it’s intention, it’s role in cultural production, and even gains the attention of actively engaged artists that see these opening of the medium as a chance to take a closer look and understand the way it actually works.

Being interested in the position that technical artefacts hold in contemporary society, I came across a materialistic view, much similar to my own, described by a couple of theorists that come from the field of New Media Archeology. The starting point of their theory is represented by pieces of discarded technology that they call Zombie Media.

As Ernst advocates, a non–narrative media archaeological gaze upon the Internet would “entail paying attention not only to the material substratum beneath or behind Internet content such as its technological components (chips, modems, circuit boards, casing, etc) but also the technical, economic, social and environmental relations that both sustain the Internet and are generated by it” [Goddard, 2015]. This type of discourse is present in many other media archaeological studies, upon which the interest at hand is to draw attention to both its material and non-material implication, but as

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Parikka notices the material part of technology has been often neglected, or insufficiently developed in the media research studies. Part of the problem is that the general tendencies of studying media are inclined to separate the field of media into categories according to the medium it represents [Hertz, Parikka, 2012].

For him, a better understanding of the way a technology has arrived in its current state can be understood while seeing technologies as “Black Boxes”, that reveal that technology after it’s been labeled obsolete.

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This concept of Parikka of using theory as a pathway to open up media to questions of it’s materiality led him to discover a visual vocabulary of obsolete technology that is maintained throughout the material symbols of technological waste: “Rubbish, electronic waste, and the concretely ecological contexts of media are what constitute another way of seeing where things come from and end up” [Hertz, Parikka, 2012].

Although he leaves the concept open, Parikka identified the visual components of material technology as means of seeing a medium for what it really is, which leads us to the aim of this project.

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Searching for a visual symbol of the industrialized technological urban environment, the telecommunication posts and the mast towers seem as the most expressive sign available.

The interest here is twofold. Firstly, I chose mast towers and electrical towers because of the fact that they belong to both worlds, analog and digital. Secondly, while scanning the urban landscape, mast towers are still present in our daily habitat and their ambiguity as visual signs leaves room for interpretation.

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This claim is easy to support because of the actual function of mast towers, and electrical lines, that is to assure the communication of data throughout cities. While the appearance of mast towers can be traced back to the Industrial Revolution and the need for capitalist society to exert control on transport and communication, they are still present today as a mean to convey information from electrical signals to digital algorithms [Beniger, James, 1986].

Art and technologyâ&#x20AC;&#x201D;in its postmodern approach, has a well-established legitimacy across a long array of fields ranging from Painting to Conceptual art, to Cultural and Political studies, Semiotics and so forth.

CELL TO

as Technological artefacts

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s of the Hyperreal Society

Thinking of today’s urban landscape, Jean Baudrillard’s terms of Hipper-real, Hipperreality, Simulations and Simulacra seem as the best way to describe a world where consumption of technology is a daily routine.

As Baudrillard sees it, the real has vanished in favour of the hyperreal simulations of it, and all that is left is a unified web of mediated experiences [Baudrillard et al., 1994].

For example, the young journalist Baudrillard supported his extravagant view when covering the Gulf War incident (1990-1991, Iraq and Kuwait) by refusing to cover the event anywhere else but in front of the television screen and thus managed to show that the mediated representation of war is what all people saw, experiencing a hyperreal manipulated view upon the real event, the actual war [Baudrillard, 1995].

Within this system, simulation overtakes the real experience, and we can see its symbols of this system every day: Disneyland, luxury items, pictures of paintings, even a lifestyle has become a mediated experience.

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C o n c l u s i o n This conception of power and how it is exerted in the new conditions of society supports the claim that politics, economy and even cultural production has moved in between digital and the analog world. It this context, mast towers serve now as visual motifs of power at the intersection of the two worlds.

The fact that the techno emerged culture combined with a capitalistic consumer economy and state apparatus produces more waste throughout the process of obsolescence raises the question of the policies of “e-waste” [Hertz, Parikka, 2012] and offers the context in which media-studies and research can expand into fields like communication, politics, digital culture, labor management, visual culture, urban environment studies and so on.

The process which led me to this explore the transceivers structures started with a field-research in urban societies, trying to expand my visual vocabulary in order to see how technology manifests itself on a visual level. While photographing urban-present technologies from the street level I came across mast towers as the perfect metaphor

to bind the real world with its technological and digital implications.

As Marvin Minsky acclaimed, “Our bodies are hardware, our behavior software” [Minsky, 1969]. This duality is a constant of technological artefacts, which relay on hardware equipment in order to access the digital world.

The fact that I choose Mast Towers as visual symbols in order to draw attention to the invisible part of technology is a way of showing a vision (of art) that is able to strip a medium of its inherent cover, according to Martin Heidegger, in order to enlarge ones knowledge on the matter. Thought Heidegger saw the materialization/objectification of art as a threat to transform it into a consumeristic good, art critic Boris Groys reinterprets Heidegger’s concept under the premise that Heidegger thought of art as something you can consume by using it , when in fact art is “consumed “ more in the form of a contemplative view, without touching on the materialist side of an artwork. [Groys, 2017]

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This view allows me to reinterpret mast towers and telecom lines as a visual symbols of our urban environment in order to construct a narrative where transdisciplinary research in the field of technology will reveal new facts of our surrounding world.

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Another way of thinking outside the box would be to determine the way such radiations affect us on a neurological level or even on a chemical level. The level of radiation is a hugely complex topic and varies hugely from installation to installation depending on deployed carriers, frequencies, operators, site For instance, adapting Parikka’s ”e-waste “ specific setup, density and much more.

[Hertz, Parikka, 2012] theory to the case of mast towers and communication lines raised From a visual point of view, we can research a series of questions related to the level of the many other tech-driven symbols in a noise and danger that such artefact produce traditional manner, or we can study how to the human body in the form of radiations. these cultural artefact affect us according to Neuroaesthetics [Semir, 1993].

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