Put out more flags

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The meetngreet staff at NESTA, the UK’s National Endowment for Science, Technology and the Arts, have a lot invested in the idea that their bulgy Fetter Lane new-build is larger and more complex than it actually is.

There’s an open-plan space with a desk and two meeting pods made of safety glass and egg boxes. The cloakroom is to the left of the right-hand pod and the room where they’re launching the 2014 Longitude Prize is to the right. You go left (there isn’t a cloakroom as such, just a cupboard) and immediately you’re intercepted by a meetngreet following a clockwise orbit around the left-hand pod. “You must be lost,” she says, pointing you in a direction you don’t want to go. All this in a space about 400-foot square.

Inside the room, the brains behind the revivification of the British government’s Longitude Prize of 1714 are taking it in turns to downplay the significance of the enterprise. Iain Grey, chief executive of the Technology Strategy Board, worries at the value of prize before jettisoning the word entirely in favour of “challenge-led agendas”, whatever the hell they are.

Honestly, it’s as if the X-Prize had never happened. The razzmatazz, the music, the black T shirts. The working laptop presentations. Here it’s all apologies and self-deprecation and a recalcitrant Windows 7 install making everyone look like a bit of a tit.

The canapes were excellent but there should have been bunting, damn it. There should have been flags. A good, worthwhile prize is always welcome. True, there’s a world of difficulty to be got through, making a prize good and worthwhile. But so far, NESTA seem to have paid their dues, and anyone who watched the BBC’s Horizon documentary last night may reasonably conclude that they’ve come up with a winner.

Until June 25, the public can vote for one of six challenges which, if met, would go some way to changing the world for the better. Do you want ecologically sustainable air travel, nutrition sufficient to keep the world’s population going, something to replace defunct antibiotics, machines to ameliorate paralysis, clean water, or independent lives for those with dementia?

As a piece of public engagement with science, it’s a triumph – and that’s before the competition proper gets started. The winning challenge stands for a decade or so, and whoever meets it wins ten million quid. The expectation, I presume, is that consortiums representing commercial and academic interests will spend much, much more than they could possibly be recouped from the prize money. The victory’s the thing, after all. The kudos. The column inches, and venture capitalists waving their chequebooks outside the door.

“This prize, on it’s own, won’t change the world,” says the prize’s lead, health entrepreneur Tamar Ghosh, underselling all her hard work. She should read more aviation history. These sorts of prizes can, and do, precisely that.

Life signs

Image: @LydNicholas (swiped from her twitter feed)

Image: @LydNicholas (swiped from her twitter feed)

Alexandra Daisy Ginsberg and the editors of Synthetic Aesthetics pulled no punches when they launched their new book at a “Friday late” at London’s Victoria and Albert Museum. A couple of audience members interrupted to bemoan the sheer abstractness of the enterprise. Why couldn’t the panel explain what synthetic biologists actually did? A rather unfair criticism of an event that scattered living biological materials across every floor of the museum. The task of explaining where beauty sits in the world of synthetic biology fell to Drew Endy, assistant professor of bioengineering at Stanford University, California. Endy explained how, when synthetic biology began, its self-styled “engineers” treated living things as wayward and overcomplicated machines, in need of radical simplification. Now, researchers are learning to appreciate and harness biological complexity. “Ford’s original Model T motor car was simple, in engineering terms, but it was hell to operate. A Tesla is complicated but a pleasure to drive.” Standards of beauty are fuzzy, personal and intuitive. They inspire real conversations. So I imagine talking about beauty in design is useful for a discipline that’s constantly struggling with its own hype, never mind other people’s panic.

Dialling out

Bumper, Blackspot and Stateless. Three short films by the critical designer and futurist Tobias Revell, with cinematographer Joseph Popper.

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Silent, Mostly unpeopled. Still. Lighthouse, Brighton’s digital agency, commissioned these films for House 2014, the town’s annual visual arts festival, which runs until 25 May.

A woman hunts out a digital shadow from where, unmolested, she can dial up vital personal information.

A man hunkers down on Dungenness beach to access domestic French web-servers in an attempt to evade trading restrictions.

A journalist wipes his personal identity and assembles a new one in minutes, to evade the forces of state security.

This is what these films are about. What they actually do is different. What they give you. Calm, and silence, and – oddly – a sense of there being nothing to see.

Roll film again: a woman walks through an industrial estate, studying her smart phone. A man crouches inside a fisherman’s tent, his back to the camera. Another man sits down in a library, then leaves.

The events, the implications, the politics of states and borders, are clear enough, and are what gives these films their pompous portmanteau title – The Monopoly of Legitimate Use, indeed – and their utility for a festival centred around ideas of “migration, refuge and territory”.

But these events, these transactions and transgressions, aren’t really taking place in the physical world at all. They are taking place on-line; on and in and behind glass; at most, in the reflections of tears.

They are not cold films, but they do locate their human action in the digital elsewhere, leaving their actors largely inexpressive, their turmoils and triumphs implied through the plot. Told, not shown.

The result is strangely hopeful. Revell’s is world of borders and restrictions, by-laws and embargoes. But his people, through the cumulative effect of countless subtle transgressions, have already evaded it. They are not escaping, they have already escaped, to the Other Side.

The future of world governance. No. Really.

Last Saturday the ReConstitutional Convention – a global experiment in political system design – brought together diverse groups of social inventors all over the world to imagine and prototype original and alternative architectures for governing.

By pure coincidence, this was also the week I started researching for the 70th anniversary of the discovery of LSD.

Here’s my bit. (There are lots of others)

Around 6’20” I start channeling Timothy Leary; watch Lydia Nicholas‘s face as it begins to dawn on her that this to-camera is going up on YouTube FOR EVER…

[youtube http://www.youtube.com/watch?v=yqNWX-QFZgw]
I’d like to thank Tobias Revell and Justin Pickard for inviting me along to this creative, playful, exasperating and very rewarding day.

The revolution begins here. (Maybe.)

Phantom Menaces

written for the Arcfinity blog:

Google’s swooshy new concept video for augmented reality goggles (or “spex”, if you will) has certainly put the virtual cat among the digital pigeons. An attempt, perhaps, to leapfrog the iPad – if Google can persuade us that what we really want is headwear that will let us see things that aren’t really there.

[youtube http://www.youtube.com/watch?v=9c6W4CCU9M4?rel=0]

I recently spent an entire evening doing just that. Aurasma, a start-up spun out of Autonomy (another search giant, incidentally), aims to bring AR to the masses;
that evening, its glamorous representatives pasted digital magic over a south London gallery’s functional white-and-grey surfaces.

Rice packets came to life in our hands to show us how to cook rice. Books spilled their letters into our laps; they took wing and flocked about our heads like so many starlings. Avatars swung their swords blindly about the gallery.

AR is one of a handful of technologies that are likely to transform our lives in the very near future. And I don’t use the ‘T’ word lightly.

People talk about the great things AR can show you. Every wall becomes a picture! Every picture becomes a movie! Every object becomes something other, something better than itself – or seems to.

Oddly nobody talks about AR’s ability to hide things. And since I’d been invited along in the role of Ancient Mariner (stopping one of three with tales of future horror – I am a writer after all; this is my job) it was this ability to subtract from the visual richness of the real which interested me the most.

Never mind the avatars and the rice-packets: these are distractions, no different in kind to movies, posters, fiercely rung handbells, and all the other manifold calls to our attention. Let’s get back to basics here. What does it mean to look at the world through a screen?

The granularity of the world is always going to be finer than the granularity of the medium through which we perceive it. No matter how photorealistic AR gets, it will always be taking information out of the picture plane.

So AR has the potential to render the world down to a kind of tedious photographic grammar – the kind employed by commercial image libraries, whose job it is to reduce the world to a series of unambiguous stills illustrating stock ideas like ‘busy at work’ or ‘looking after the children’.

This is nothing new. Photography has the ability to do this, obviously. But photography cannot be stuck over (or in) your eyeballs twenty-four hours a day.

AR has this potential, substituting the real with a simplified description for anyone wearing the funny glasses.

Lacanian psychoanalysts have a word for this process of simplification: they call it repression. And if AR becomes truly ubiquitous, then we will no longer be able to trust our eyes, and will probably have to develop a neurotic relationship with this technology.

Is AR a good thing, then, or a bad thing? This is the kind of question we’re trying to avoid in Arc. Not because it is a hard question, but because it is a bad question. It assumes we have no agency, no wit, no common sense. It assumes we’re at the mercy of our own technology.

The problems thrown up by AR will not be new. They will be old. They will be fairytale-like problems. (Is that woman by the bar a fairy, a queen, or a crone? Is the wizard touting for trade in the shopping centre a wizard at all, or a mere trickster? Is our Prime Minister really wearing any clothes?) It may be that, in order to navigate this fairytale visual space, AR will give birth to an entirely new set of visual behaviours.

It wouldn’t be the first time. Look at reading. There is nothing ‘natural’ – certainly nothing evolved – about it. But we welcome its effects, and we build upon them, and we celebrate them. In some ways reading makes us less -it’s been shooting human memory in the foot repeatedly since Plato’s day. In other ways it makes us more: it
allows us to share the knowledge and experiences of people we will never meet, of people who have ceased to exist, of people who never existed. AR will do the same.

Under Tomorrow’s Sky

On June 16 2013, urbanist Liam Young brought together an ensemble of thinkers, writers and artists to forge the collaborative blueprint for a future city. I went along to rub shoulders with, among others, Warren Ellis, Rachel Armstrong and Bruce Sterling, and to film this wrap-up discussion between Sterling and Young.

An interview with Anthony Dunne

I went along to London’s Design Museum to catch the opening of United Micro Kingdoms (UMK): A Design Fiction. The exhibition, conceived and curated by design studio Dunne & Raby, uses elements of industrial design, architecture, politics and science to explore the future of design. Anthony Dunne talked to Arc about his four fictional kingdoms, his love of science fiction, and the value of dystopic thinking.