Bruce Sterling on what has changed

and what we’ll see more of. https://medium.com/geek-empire-1/a1ebd2b4a0e5

bruce-sterling

He is probably (hopefully) right that we’re going to see more and more of these kinds of dissidents, and possibly wrong about the fact that activists got it all wrong. 
What about the claim that they (which extends to, I guess, ‘we’ as artists) would be

utterly thrilled to have the NSA’s vast technical power at their own command.

Are we, too,

electronic first, and civil as a very distant second

?

Next term @ Surveillant Architectures: The Future

Laser

“behold the future of drone countermeasures”

AFP Agence France-Presse 30 Jun #PHOTO: Egyptian protestors direct laser lights on a military helicopter flying over the presidential palace in Cairo pic.twitter.com/FtNVpCgOAg
AFP Agence France-Presse 30 Jun
#PHOTO: Egyptian protestors direct laser lights on a military helicopter flying over the presidential palace in Cairo pic.twitter.com/FtNVpCgOAg

lasers against helicopter 2 EGYPT-POLITICS-UNREST lasers against helicopter 4 lasers against helicopter 5 lasers against helicopter 6

Attacker model

Q: Is it possible to put security in place to protect against state surveillance?

A: “You are not even aware of what is possible. The extent of their capabilities is horrifying. We can plant bugs in machines. Once you go on the network, I can identify your machine. You will never be safe whatever protections you put in place.”

Edward Snowden

He is deeply worried about being spied on. He lines the door of his hotel room with pillows to prevent eavesdropping. He puts a large red hood over his head and laptop when entering his passwords to prevent any hidden cameras from detecting them.

Though that may sound like paranoia to some, Snowden has good reason for such fears. He worked in the US intelligence world for almost a decade. He knows that the biggest and most secretive surveillance organisation in America, the NSA, along with the most powerful government on the planet, is looking for him.

…, and as a result, “I got hardened.”

Edward Snowden

Encryption

A basic tool for free speech: learn how to use email encryption.  Mac and Windows versions are here; the mothership is for Linux. It couldn’t be easier, the end-user versions come with great instructions.

Send me something good! Here’s my public key for sievers [at] khm [dot] de (actually those tools above will find it for you automatically).

http://khm.de/~sievers/D457B050.asc 

P.S. the iphone screenshot shows you it has no means to decrypt the message, which is probably just as well

Interview with Michael Baldwin and Mel Ramsden

http://rwm.macba.cat/en/sonia?id_capsula=819

Founded in Coventry (England) in 1968 by Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurell, Art & Language brought together the work that these artists had been creating jointly since 1965. A year later, they published the first issue of the homonymous magazine Art-Language, a publication that reflected on theoretical problems of conceptual art and became a platform from which to develop the group’s projects. During 1969 and 1970, Mel Ramsden, Ian Burn, Joseph Kosuth and Charles Harrison joined the group, which eventually ended up bringing together more than thirty artists in subsequent years. Since 1977, Art & Language has consisted of the artistic collaboration between Michael Baldwin and Mel Ramsden, with the theoretical contribution of the historian and art critic Charles Harrison, who died in 2009.
SON[I]A

understanding computers?

“…our inability to describe and understand technological infrastructure reduces our critical reach, leaving us both disempowered and, quite often, vulnerable.”

James Bridle

“Again it comes back to infrastructure and how our inability to describe and understand reduces our critical reach, leaving us both disempowered and, quite often, vulnerable.

Opacity is an important word here too, as is the term ‘black box’. Most of our engineered communications infrastructure is not just extraordinarily abstract for people to come to grips with but is actively kept hidden. There are some valid reasons, of course, for keeping infrastructure hidden but the fact is it out of sight is being increasingly exploited in and out of supposedly democratic contexts, largely by surveillance initiatives we were never told about.

Engendering a healthy paranoia here, along with making work that ruptures the featureless skin of these black boxes – providing points of entry – is important to me currently. Infrastructure must not be a ghost. Nor should we have only mythic imagination at our disposal in attempts to describe it. ‘The Cloud’ is a good example of a dangerous simplification at work, akin to a children’s book. Such convenient reductions will be expensive in time as some corporations and governments continue to both engineer – and take advantage of – ignorance.”

Julian Oliver