Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision		 Previous revision
resilients:unmanned_aerial_ecologies [2013-05-14 13:43] – alkanresilients:unmanned_aerial_ecologies [2013-09-23 12:49] (current) – 141.138.49.19
Line 2: Line 2:
  
 By Honor Harger, April 2013 By Honor Harger, April 2013
 +
 +On Tuesday 16 April 2013, I gave a talk in Brussels at the seminar, //[[http://thedigitalnow.be/?page_id=178|Look Up in the Sky!]]//, which was organised by Cimatics as part of their [[http://thedigitalnow.be/?page_id=7|Digital Now]] programme to coincide with the Brussels Art Fair. Michel van Dartel moderated, Bram Crevits introduced the exhibition he curated for the programme, and [[http://booktwo.org/|James Bridle]] gave an excellent talk on drones called ‘A Quiet Disposition’, which he’ll be [[http://is.gd/jamestalk|reprising at Lighthouse]] in Brighton, on 9 May 2013.
 +
 +My talk followed on from [[http://decelerator.blogspot.fr/2012/11/a-drones-eye-view-revealing-killing.html|a piece I wrote last November]], which looked at contemporary artists’ responses to drones. It was an attempt to provide some recent art-historical context. Below is a rough account of what I said, annotated and illustrated where practical.
 +
  
 [[http://c-astral.com/|{{http://farm8.staticflickr.com/7285/8738492108_5cf0ae9ed2_o.jpg}}]] [[http://c-astral.com/|{{http://farm8.staticflickr.com/7285/8738492108_5cf0ae9ed2_o.jpg}}]]
Line 7: Line 12:
 C-Astral Bramor UAV during landing, Kilpisjaervi, Lapland, November 2012, courtesy of Marko Peljhan C-Astral Bramor UAV during landing, Kilpisjaervi, Lapland, November 2012, courtesy of Marko Peljhan
  
-On Tuesday 16 April 2013, I gave a talk in Brussels at the seminar, //[[http://thedigitalnow.be/?page_id=178|Look Up in the Sky!]]//, which was organised by Cimatics as part of their [[http://thedigitalnow.be/?page_id=7|Digital Now]] programme to coincide with the Brussels Art Fair. Michel van Dartel moderated, Bram Crevits introduced the exhibition he curated for the programme, and [[http://booktwo.org/|James Bridle]] gave an excellent talk on drones called ‘A Quiet Disposition’, which he’ll be [[http://is.gd/jamestalk|reprising at Lighthouse]] in Brighton, on 9 May 2013. 
- 
-My talk followed on from [[http://decelerator.blogspot.fr/2012/11/a-drones-eye-view-revealing-killing.html|a piece I wrote last November]], which looked at contemporary artists’ responses to drones. It was an attempt to provide some recent art-historical context. Below is a rough account of what I said, annotated and illustrated where practical. 
  
 ---- ----
Line 69: Line 71:
 One of their canonical pieces is //[[http://bureauit.org/plane|bitplane]]//. It was a radio-controlled airplane, equipped with a video camera and transmitter. In 1997, it was launched on a series of sorties over the Silicon Valley in California. Guided by the live video feed from the plane, the pilot on the ground was able to, [[http://bureauit.org/plane|as the artists put it]], 'steer the plane deep into the glittering heartlands of the Information Age'. One of their canonical pieces is //[[http://bureauit.org/plane|bitplane]]//. It was a radio-controlled airplane, equipped with a video camera and transmitter. In 1997, it was launched on a series of sorties over the Silicon Valley in California. Guided by the live video feed from the plane, the pilot on the ground was able to, [[http://bureauit.org/plane|as the artists put it]], 'steer the plane deep into the glittering heartlands of the Information Age'.
  
-<html><iframe width="420" height="315" src="http://www.youtube.com/embed/qHG-1izv5S4" frameborder="0" allowfullscreen></iframe></html>+<html><iframe width="640" height="480" src="http://www.youtube.com/embed/qHG-1izv5S4" frameborder="0" allowfullscreen></iframe></html>
  
 It is evident that the artists are expressing a deep concern not only with the militarised component of the military-industrial complex. They are correlating the spaces where the manufacture of weapons and the manufacture of information technology both take place. They are critiquing the economics of the area, the infrastructure of technology, the sites where secret research takes place, the locales where aircraft systems are thought-up and built. It is evident that the artists are expressing a deep concern not only with the militarised component of the military-industrial complex. They are correlating the spaces where the manufacture of weapons and the manufacture of information technology both take place. They are critiquing the economics of the area, the infrastructure of technology, the sites where secret research takes place, the locales where aircraft systems are thought-up and built.
Line 81: Line 83:
 This is the central concern of [[|http://www.ladomir.net/bio-summary|Marko Peljhan]]. This is the central concern of [[|http://www.ladomir.net/bio-summary|Marko Peljhan]].
  
 +[[http://www.ladomir.net/bio-summary|{{http://farm8.staticflickr.com/7282/8738491974_67c5b72b74_o.jpg}}]]
  
- +Marko Peljhan, photographed in the Arctic
-Marko Peljhan, photographed in the Arctic.+
  
 ===Strategies of Minimal Resistance=== ===Strategies of Minimal Resistance===
  
 
Peljhan is an artist from Slovenia, who’s best known for his post-Utopian work on [[http://makrolab.ljudmila.org/mark2.html|autonomous living systems]], which are inspired by both the conditions of orbital space stations, such as MIR and the ISS, and by the nuclear fall-out shelters which were dotted over Europe for much of the Cold War. 
Peljhan is an artist from Slovenia, who’s best known for his post-Utopian work on [[http://makrolab.ljudmila.org/mark2.html|autonomous living systems]], which are inspired by both the conditions of orbital space stations, such as MIR and the ISS, and by the nuclear fall-out shelters which were dotted over Europe for much of the Cold War.
 +
 +[[http://radioqualia.va.com.au/documentation/makrolab/index.html|{{http://farm8.staticflickr.com/7287/8737373739_73957353f7_o.jpg}}]]
  
 Makrolab, Blair Atholl Estate, Scotland (2002) by Marko Peljhan. Photograph by r a d i o q u a l i a. Makrolab, Blair Atholl Estate, Scotland (2002) by Marko Peljhan. Photograph by r a d i o q u a l i a.
Line 96: Line 100:
  
 Back around the same time as Jeremijenko and Rich were building the bitplane in California, Peljhan and his colleagues were designing this: Back around the same time as Jeremijenko and Rich were building the bitplane in California, Peljhan and his colleagues were designing this:
 +
 +{{http://farm8.staticflickr.com/7283/8738491836_94ecfeee4e_o.jpg}}
  
 TRUST-SYSTEM by Marko Peljhan (1999) TRUST-SYSTEM by Marko Peljhan (1999)
Line 104: Line 110:
  
 It was first exhibited as an installation at MOMA-PS1 in New York, April 1999. The installation consisted of the plans for the conversion of the missile, as well as actual elements of a cruise missile system.  Loaned to the museum for by US and Israeli defense contractors for a technology design exhibition, these components ended being converted into the TRUST-SYSTEM installation. It was first exhibited as an installation at MOMA-PS1 in New York, April 1999. The installation consisted of the plans for the conversion of the missile, as well as actual elements of a cruise missile system.  Loaned to the museum for by US and Israeli defense contractors for a technology design exhibition, these components ended being converted into the TRUST-SYSTEM installation.
 +
 +{{http://farm8.staticflickr.com/7285/8737373435_a7cdd5e736_o.jpg}}
  
 TRUST-SYSTEM 15 [Tactical Radio Unified System Transport] by Marko Peljhan (1999), at MOMA-PS1 in New York. Image Paula Court TRUST-SYSTEM 15 [Tactical Radio Unified System Transport] by Marko Peljhan (1999), at MOMA-PS1 in New York. Image Paula Court
Line 110: Line 118:
  
 //‘Conversion from abstract to material, military to civilian, from dark to light, from closed to open, from node to network, from old to new and vice versa.’// //‘Conversion from abstract to material, military to civilian, from dark to light, from closed to open, from node to network, from old to new and vice versa.’//
 +
 +[[http://www.ladomir.net/territory-1995-istanbul-biennale-2009|{{http://farm8.staticflickr.com/7284/8737373451_f959d4fc1c_o.jpg}}]]
  
 Territory 1995 by Marko Peljhan (2009), Istanbul Biennale, Turkey Territory 1995 by Marko Peljhan (2009), Istanbul Biennale, Turkey
Line 117: Line 127:
 When war broke out again in Kosovo in 1998-99, Peljhan began to design and build prototypes of systems which were intended to actively contravene military suppression. Seeing that information and communication infrastructure was always vulnerable during times of conflict, Peljhan wanted to create independent infrastructures, which would enable the free flow of communication at times when it was needed the most. When war broke out again in Kosovo in 1998-99, Peljhan began to design and build prototypes of systems which were intended to actively contravene military suppression. Seeing that information and communication infrastructure was always vulnerable during times of conflict, Peljhan wanted to create independent infrastructures, which would enable the free flow of communication at times when it was needed the most.
  
-INSULAR technologies by Marko Peljhan (1999-2008).+{{http://farm8.staticflickr.com/7288/8737373599_95bc851415_o.jpg}} 
 + 
 +INSULAR technologies by Marko Peljhan (1999-2008)
  
 One of the projects he developed at this time, which remains incredibly influential, to this day, was, [[http://www.n5m.org/n5m3/pages/insular3.html|//INSULAR Technologies//]] (International Networking System for Unified Long distance Advanced Radio). This was a prototype to use a network of Shortwave radio transceivers, using automatic link establishment and encryption, to create an alternative, independent internet network infrastructure, able to send and receive basic messages, texts and small files. One of the projects he developed at this time, which remains incredibly influential, to this day, was, [[http://www.n5m.org/n5m3/pages/insular3.html|//INSULAR Technologies//]] (International Networking System for Unified Long distance Advanced Radio). This was a prototype to use a network of Shortwave radio transceivers, using automatic link establishment and encryption, to create an alternative, independent internet network infrastructure, able to send and receive basic messages, texts and small files.
  
 //‘The system would consist of base HF stations, portable units and gateways to connect it to the global data network. We can gather from military analysis and amateur radio experience over the last 50 years, that HF technology has unique characteristics that make it ideal for long haul communications.’// [[http://www.n5m.org/n5m3/pages/insular3.html|Peljhan (1999)]] //‘The system would consist of base HF stations, portable units and gateways to connect it to the global data network. We can gather from military analysis and amateur radio experience over the last 50 years, that HF technology has unique characteristics that make it ideal for long haul communications.’// [[http://www.n5m.org/n5m3/pages/insular3.html|Peljhan (1999)]]
 +
 +[[http://world-information.org/wio/program/objects/1037132588/1037132631|{{http://farm8.staticflickr.com/7283/8738491836_94ecfeee4e_o.jpg}}]]
  
 TRUST-SYSTEM 22. Images courtesy of Peljhan TRUST-SYSTEM 22. Images courtesy of Peljhan
Line 132: Line 146:
  
 So here, we see again the core idea of tactical media activism at play. The conversion of tools designed for control or repression, being turned around for civilian, activist purposes. This tactic was at the heart of //[[http://s-77ccr.org/|SYSTEM-77-CCR]]// //(SYSTEM-77-Civil Counter Reconnaissance),// which showed how UAVs, in the hands of civil society, could monitor the state. It was presented in Vienna in 2004. So here, we see again the core idea of tactical media activism at play. The conversion of tools designed for control or repression, being turned around for civilian, activist purposes. This tactic was at the heart of //[[http://s-77ccr.org/|SYSTEM-77-CCR]]// //(SYSTEM-77-Civil Counter Reconnaissance),// which showed how UAVs, in the hands of civil society, could monitor the state. It was presented in Vienna in 2004.
 +
 +{{http://farm8.staticflickr.com/7288/8737373443_138a0041af_o.jpg}}
  
 Spectral-System (2004). Render courtesy of Nejc Trost Spectral-System (2004). Render courtesy of Nejc Trost
Line 138: Line 154:
  
 This [[http://future-nonstop.org/c/c56ba37e401b5f41ae1e5497ad0aaa04|video created in 2004]] outlines the objectives of the project: This [[http://future-nonstop.org/c/c56ba37e401b5f41ae1e5497ad0aaa04|video created in 2004]] outlines the objectives of the project:
 +
 +[[http://future-nonstop.org/c/c56ba37e401b5f41ae1e5497ad0aaa04|{{http://farm8.staticflickr.com/7288/8738491898_f36d7ec519_o.jpg}}]]
  
 Video of System-77-CCR (SYSTEM-77 / CIVIL COUNTER-RECONNAISSANCE) by Marko Peljhan (2004) Video of System-77-CCR (SYSTEM-77 / CIVIL COUNTER-RECONNAISSANCE) by Marko Peljhan (2004)
Line 144: Line 162:
  
 This points to a valuable side-effect of contextualising these radical critical actions within the framework of art. Here, stationed in the [[http://makeworlds.net/node/12|Makrolab on Campalto Island as part of the the Venice Biennial in 2003]], Peljhan underscores this. Here he tells Slovenian television: This points to a valuable side-effect of contextualising these radical critical actions within the framework of art. Here, stationed in the [[http://makeworlds.net/node/12|Makrolab on Campalto Island as part of the the Venice Biennial in 2003]], Peljhan underscores this. Here he tells Slovenian television:
 +
 +<html><iframe width="640" height="480" src="http://www.youtube.com/embed/uw9c1gk0Cf4" frameborder="0" allowfullscreen></iframe></html>
  
 Marko Peljhan quoted in Invisible Territory, a documentary by Zemira Alajbegovic, RTV Slovenia, 2007 Marko Peljhan quoted in Invisible Territory, a documentary by Zemira Alajbegovic, RTV Slovenia, 2007
Line 150: Line 170:
  
 Peljhan’s response to this situation was to team up with his collaborators, Nejc Trost and Samo Stopar (who had worked on SYSTEM-77-CCR), and establish a new company. The intention was to develop prototypes that were created within the context of the art, to a point where they could enter society and start their ‘conversion duties’, on a much wider basis. Peljhan’s response to this situation was to team up with his collaborators, Nejc Trost and Samo Stopar (who had worked on SYSTEM-77-CCR), and establish a new company. The intention was to develop prototypes that were created within the context of the art, to a point where they could enter society and start their ‘conversion duties’, on a much wider basis.
 +
 +[[http://www.mining-technology.com/features/featureunmanned-aerial-vehicle-uav-mine-mapping/featureunmanned-aerial-vehicle-uav-mine-mapping-1.html|{{http://farm8.staticflickr.com/7288/8737373685_5bdf3a6b03_o.jpg}}
  
 Nejc Trošt, pictured with C-Astral UAV. Photograph courtesy of: http://is.gd/5VbKJE Nejc Trošt, pictured with C-Astral UAV. Photograph courtesy of: http://is.gd/5VbKJE
  
 The resulting company, [[http://c-astral.com/|C-Astral]], now design and manufacture autonomous UAV systems. They specialise in creating UAVs which help survey terrain from aerial positions.  Their UAVs can operate within a range of scientific contexts, and are used for geographic data gathering, the creation of digital terrain and surface models, and classical surveying. The resulting company, [[http://c-astral.com/|C-Astral]], now design and manufacture autonomous UAV systems. They specialise in creating UAVs which help survey terrain from aerial positions.  Their UAVs can operate within a range of scientific contexts, and are used for geographic data gathering, the creation of digital terrain and surface models, and classical surveying.
 +
 +[[http://c-astral.com/|{{http://farm8.staticflickr.com/7287/8738492136_7218fe66a6_o.jpg}}]]
  
 Bramor gEO UAV from C-Astral, operated by the Kemijarvi Vocational College in Lapland. Photograph courtesy of Marko Peljhan. Bramor gEO UAV from C-Astral, operated by the Kemijarvi Vocational College in Lapland. Photograph courtesy of Marko Peljhan.
Line 160: Line 184:
  
 So, this is a quite dramatic example of Peljhan’s notion of conversion. Out of a desire to create a series of tactical art prototypes, [[http://c-astral.com/|a successful company]] specialising on UAVs for civilian, cultural and scientific purposes has been born. And one that ironically, is drawing the attention of the military itself. So, this is a quite dramatic example of Peljhan’s notion of conversion. Out of a desire to create a series of tactical art prototypes, [[http://c-astral.com/|a successful company]] specialising on UAVs for civilian, cultural and scientific purposes has been born. And one that ironically, is drawing the attention of the military itself.
 +
 +{{http://farm8.staticflickr.com/7284/8737373703_180d0a554b_o.jpg}}
  
 Bramor gEO UAV in flight. Bramor gEO UAV in flight.
Line 174: Line 200:
  
 
This began in 2011 with the exhibition, [[http://is.gd/invisible|Invisible Fields]], which revealed the radio spectrum – the invisible environment that enables contemporary technologies of information and communication, including drones. The exhibition was co-curated by Jose Luis de Vicente, and me, and it set out the spectrum as [[http://is.gd/invisible|a physical space, invisible but present]], a terrain that can be studied, mapped, surveyed and explored. 
This began in 2011 with the exhibition, [[http://is.gd/invisible|Invisible Fields]], which revealed the radio spectrum – the invisible environment that enables contemporary technologies of information and communication, including drones. The exhibition was co-curated by Jose Luis de Vicente, and me, and it set out the spectrum as [[http://is.gd/invisible|a physical space, invisible but present]], a terrain that can be studied, mapped, surveyed and explored.
 +
 +{{http://farm8.staticflickr.com/7284/8738601206_a02c4d549f_o.jpg}}
  
 Immaterials: Light Painting WiFi by Timo Arnall (2011) shown at Invisible Fields, Barcelona 2011-12 Immaterials: Light Painting WiFi by Timo Arnall (2011) shown at Invisible Fields, Barcelona 2011-12
Line 184: Line 212:
  
 This applies far more widely than the sphere of design, which is what Arnall was referring to. We can see echos of this in Bureau of Inverse Technology‘s work, and in Peljhan‘s work. This tendency that invisibility has to cloud critique is one of the central concerns of the artist, [[http://is.gd/paglen|Trevor Paglen]]. This applies far more widely than the sphere of design, which is what Arnall was referring to. We can see echos of this in Bureau of Inverse Technology‘s work, and in Peljhan‘s work. This tendency that invisibility has to cloud critique is one of the central concerns of the artist, [[http://is.gd/paglen|Trevor Paglen]].
 +
 +[[http://www.lighthouse.org.uk/programme/trevor-paglen-geographies-of-seeing|{{http://farm8.staticflickr.com/7288/8737373935_cbdff19021_o.jpg}}]]
  
 They Watch the Moon (2010) by Trevor Paglen. Shown in Geographies of Seeing, co-curated by Honor Harger and Celia Davies at Lighthouse, 2012. They Watch the Moon (2010) by Trevor Paglen. Shown in Geographies of Seeing, co-curated by Honor Harger and Celia Davies at Lighthouse, 2012.
Line 192: Line 222:
  
 His first target was [[http://www.paglen.com/?l=work&s=othernightsky|our night sky]]. The official catalogue of spacecraft in orbit around the Earth has about 20,000 objects in it. What is not in the catalogue is all of the secret satellites operated by the military. Paglen, together with his collaborators, have tracked these secret satellites and photographed approximately 189 of these objects. His first target was [[http://www.paglen.com/?l=work&s=othernightsky|our night sky]]. The official catalogue of spacecraft in orbit around the Earth has about 20,000 objects in it. What is not in the catalogue is all of the secret satellites operated by the military. Paglen, together with his collaborators, have tracked these secret satellites and photographed approximately 189 of these objects.
 +
 +{{http://farm8.staticflickr.com/7284/8737373553_72e0c85ea2_o.jpg}}
  
 KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 1860) (2008) by Trevor Paglen. Shown in Geographies of Seeing, Lighthouse, 2012 KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 1860) (2008) by Trevor Paglen. Shown in Geographies of Seeing, Lighthouse, 2012
Line 202: Line 234:
  
 Here we see a reaper drone, getting ready to well, reap. Here we see a reaper drone, getting ready to well, reap.
 +
 +{{http://farm8.staticflickr.com/7285/8737373485_69ddca1ded_o.jpg}}
  
 Reaper Drone, Indian Springs, NV Distance ~ 2 miles (2010) by Trevor Paglen Reaper Drone, Indian Springs, NV Distance ~ 2 miles (2010) by Trevor Paglen
  
 Paglen did exactly what this symposium exhorts us to do and looked up at the sky. There he found Predator drones, making sorties across landscapes in the US. Paglen did exactly what this symposium exhorts us to do and looked up at the sky. There he found Predator drones, making sorties across landscapes in the US.
 +
 +{{http://farm8.staticflickr.com/7288/8738491838_63f6539afc_o.jpg}}
  
 Untitled (Predators; Indian Springs, NV) by Trevor Paglen (2010) Untitled (Predators; Indian Springs, NV) by Trevor Paglen (2010)
  
 And in tandem with in satellite-hacking friends, he then intercepted this: And in tandem with in satellite-hacking friends, he then intercepted this:
 +
 +{{http://farm8.staticflickr.com/7287/8738491864_8599d5be51_o.jpg}}
  
 Drone Vision (2010) by Trevor Paglen Drone Vision (2010) by Trevor Paglen
Line 218: Line 256:
  
 
This May, Lighthouse are deepening our examination of invisible infrastructures of the sky by looking at how the [[http://www.lighthouse.org.uk/programme/lighthouse-at-brighton-festival|technologies of contemporary warfare]] have the effect of disconnecting us from the ethical implications of military conflict. We’re presenting two projects, one is a [[http://is.gd/brightondrone|major public intervention about drones]] by James Bridle. 
This May, Lighthouse are deepening our examination of invisible infrastructures of the sky by looking at how the [[http://www.lighthouse.org.uk/programme/lighthouse-at-brighton-festival|technologies of contemporary warfare]] have the effect of disconnecting us from the ethical implications of military conflict. We’re presenting two projects, one is a [[http://is.gd/brightondrone|major public intervention about drones]] by James Bridle.
 +
 +[[http://www.lighthouse.org.uk/programme/lighthouse-at-brighton-festival|{{http://farm8.staticflickr.com/7287/8737373657_7c6343f540_o.jpg}}]]
  
 Hercules Missile Landscape by Mariele Neudecker (2010). Being shown at The Air Itself is One Vast Library, an exhibition at Lighthouse for Brighton Festival 2013 Hercules Missile Landscape by Mariele Neudecker (2010). Being shown at The Air Itself is One Vast Library, an exhibition at Lighthouse for Brighton Festival 2013
  
 The second is [[http://www.lighthouse.org.uk/programme/mariele-neudecker-the-air-itself-is-one-vast-library|an exhibition]] by the German artist, Mariele Neudecker. Neudecker’s work ordinarily focuses on nature, on the sublime. But following research residency at the historic [[http://www.nps.gov/goga/nike-missile-site.htm|Nike missile facility]] in California in 2010, she developed a body of work about aerial weapons of mass destruction. Neudecker’s artistic strategy is rooted in ‘ground truth’, a term used in remote sensing to describe data collected on location. Her extraordinary [[http://www.marieleneudecker.co.uk/marieleneudeckej.html|graphite rubbings of vast Hercules missiles]] physically capture the object, making what is otherwise abstract and monstrous, tactile and present. The second is [[http://www.lighthouse.org.uk/programme/mariele-neudecker-the-air-itself-is-one-vast-library|an exhibition]] by the German artist, Mariele Neudecker. Neudecker’s work ordinarily focuses on nature, on the sublime. But following research residency at the historic [[http://www.nps.gov/goga/nike-missile-site.htm|Nike missile facility]] in California in 2010, she developed a body of work about aerial weapons of mass destruction. Neudecker’s artistic strategy is rooted in ‘ground truth’, a term used in remote sensing to describe data collected on location. Her extraordinary [[http://www.marieleneudecker.co.uk/marieleneudeckej.html|graphite rubbings of vast Hercules missiles]] physically capture the object, making what is otherwise abstract and monstrous, tactile and present.
 +
 +[[http://www.marieleneudecker.co.uk/marieleneudeckej.html|{{http://farm8.staticflickr.com/7285/8738491934_c80f776a43_o.jpg}}]]
  
 Psychopomp by Mariele Neudecker (2010) – Hercules missile rubbings. Being exhibited at Lighthouse, May 2013 Psychopomp by Mariele Neudecker (2010) – Hercules missile rubbings. Being exhibited at Lighthouse, May 2013
Line 232: Line 274:
  
 Which calls to mind our last example, a project by the speculative architect, [[http://www.lighthouse.org.uk/programme/monthly-talk-liam-young|Liam Young]], of [[http://www.tomorrowsthoughtstoday.com/|Tomorrow’s Thoughts Today]], who spoke last month at Lighthouse. Which calls to mind our last example, a project by the speculative architect, [[http://www.lighthouse.org.uk/programme/monthly-talk-liam-young|Liam Young]], of [[http://www.tomorrowsthoughtstoday.com/|Tomorrow’s Thoughts Today]], who spoke last month at Lighthouse.
 +
 +<html><iframe src="http://player.vimeo.com/video/36267881?title=0&amp;byline=0&amp;portrait=0" width="600" height="435" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></html>
 +
 +{{>http://vimeo.com/36267881}}
  
 [[http://vimeo.com/36267881|Electronic Countermeasures (2011)]] uses UAVs to create an ad-hoc wireless MESH network for communication. It is a poetic enactment of [[http://is.gd/babbage|Babbage’s observation]] that ‘the air itself is one vast library’ – an information-rich airspace. And, using a completely different type of UAV, it also calls to mind Marko Peljhan’s TRUST System – a conversion of a drone into a communication and broadcast system – in this instance, a mesh network. [[http://vimeo.com/36267881|Electronic Countermeasures (2011)]] uses UAVs to create an ad-hoc wireless MESH network for communication. It is a poetic enactment of [[http://is.gd/babbage|Babbage’s observation]] that ‘the air itself is one vast library’ – an information-rich airspace. And, using a completely different type of UAV, it also calls to mind Marko Peljhan’s TRUST System – a conversion of a drone into a communication and broadcast system – in this instance, a mesh network.
Line 238: Line 284:
  
 
So, for Babbage, for Peljhan, for Neudecker, for Young, the air here is a synonym for information space. The sky we’re being asked to look up to is an invisible networked ecology, subject to command, control and communication. 
So, for Babbage, for Peljhan, for Neudecker, for Young, the air here is a synonym for information space. The sky we’re being asked to look up to is an invisible networked ecology, subject to command, control and communication.
 +
 +[[http://vimeo.com/44446581|{{http://farm8.staticflickr.com/7283/8738492034_cc28b28387_o.jpg}}]]
  
 Here be Dragons: the Unstable Landscapes of GPS by Will Gowland (2011) Here be Dragons: the Unstable Landscapes of GPS by Will Gowland (2011)
Line 249: Line 297:
  
 <blockquote>//This text originally appeared on Honor Harger's blog as [[http://honorharger.wordpress.com/2013/04/21/unmanned-aerial-ecologies-proto-drones-airspace-and-canaries-in-the-mine/|'Unmanned Aerial Ecologies']], and is republished here with permission.//</blockquote> <blockquote>//This text originally appeared on Honor Harger's blog as [[http://honorharger.wordpress.com/2013/04/21/unmanned-aerial-ecologies-proto-drones-airspace-and-canaries-in-the-mine/|'Unmanned Aerial Ecologies']], and is republished here with permission.//</blockquote>
 +
  • resilients/unmanned_aerial_ecologies.1368539028.txt.gz
  • Last modified: 2013-05-14 13:43
  • by alkan