In the last five months, the NSA's surveillance practices have been revealed to be a massive international operation, staggering in scope. But how do all of the NSA's programmes fit together – and what does it mean for you?
Vineland is an augmented reality artwork which overlays cities with all their geo-tagged vine videos with each vine video viewable in the location in which it was posted
The project is created through scraping Vine data from Twitter filtering out Vines which have been precisely geo-tagged and can be located in real space. The work overlays the city with these ephemeral six second videos to create a data generated portrait of the city as told through its vines.
Vineland raises concerns about the permanency of data in the era of PRISM when nothing is forgotten.
Vineland is live in New York City, Los Angeles, Chicago, Boston and Denver with Atlanta, San Francisco,Seattle, Portland, Mountain View, London, Dublin, Paris and Berlin going live in late October.
SecureDrop is an open-source whistleblower submission system managed by Freedom of the Press Foundation that media organizations use to securely accept documents from anonymous sources. It was originally coded by the late Aaron Swartz.
Any organization can install SecureDrop for free and can make modifications if they so choose. Check out our project page on GitHub for detailed installation instructions. Freedom of the Press Foundation also offers technical assistance to news organizations wishing to install SecureDrop and train its journalists in security best practices.
This special issue of Amodern features original research, initially presented in 2012 at the “Network Archaeology” conference at Miami University of Ohio, on the histories of networks, the discrete connections that they articulate, and the circulatory forms of data, information, and socio-cultural resources that they enable. Drawing from the field of media archaeology, we conceptualize network archaeology as a call to investigate networks past and present – using current networks to catalyze new directions for historical inquiry and drawing upon historical cases to inform our understanding of today’s networked culture. In this introduction, we elaborate how network archaeology opens up promising areas for critical investigation, new objects of study, and prospective sites for collaboration within the productively discordant approach of media archaeology.
The archives of the Royal Greenwich Observatory, held in Cambridge University Library, include the complete run of the surviving papers of the Board of Longitude through the eighteenth century until its abolition in 1828. These papers throw a vivid light on the role of the British state in encouraging invention and discovery, on the energetic culture of technical ingenuity in the long eighteenth century, and on many aspects of exploration and maritime travel in the Pacific Ocean and the Arctic.
This project, a partnership between Cambridge University Library, the National Maritime Museum and the AHRC-fundedBoard of Longitude Project, presents fully digitised versions of the complete archive and associated materials, alongside detailed metadata, contextual essays, video, educational resources and hundreds of links through to relevant objects in the National Maritime Museum's online collections.
Imagining the Future City: London 2062 (free download) is an edited collection based on the London 2062 project from UCL’s Grand Challenge of Sustainable Cities. The London 2062 project engaged academics, policy makers and practitioners, providing a forum for serious debate about the challenges and opportunities for London in the five decades following the Olympics. The book is divided into four sections, considering London in terms of Things, Connections, Powerand Dreams. The book features contributions from leading academic thinkers at UCL and from those involved in shaping London on the ground, through policy and practice. The authors consider the future of London from multiple viewpoints, including transport, energy, smart infrastructure, water, population, housing and the economy.
inFORM is a Dynamic Shape Display that can render 3D content physically, so users can interact with digital information in a tangible way. inFORM can also interact with the physical world around it, for example moving objects on the table’s surface. Remote participants in a video conference can be displayed physically, allowing for a strong sense of presence and the ability to interact physically at a distance. inFORM is a step toward our vision of Radical Atoms
This video is made from the final episode of Breaking Bad incompletely downloaded from the internet via bittorrent.
The video has been linearly edited, no digital effects were used and all effects are in the corrupted file. The final episode of Breaking Bad broke bittorrent records when it was released with over 500,000 people sharing the file within 12 hours of its release.
The video captures this episode of the popular TV show in the act of being shared by these users on bittorrent. The video simultaneously acts as a visualisation of bittorrent traffic and the practice of filesharing as well as being an aesthetically beautiful and unique by-product of the bittorrent process, the file codec and the size of the bittorrent swarm as the pieces of the original file are rearranged and reconfigured into a new transitory in-between state.
The video is the final part of the Bittorrent Trilogy which includes Mad Men: the bittorrent edition and Game of Thrones: the bittorrent edition, a series exploring file sharing as social and aesthetic practice.
METRO is a journey, beginning outside and moving inwards. Sometimes enveloping and sometimes sparse and shattered, time produces forward motion and simplification. It is documentation of a physical space, captured millimeter accurate coordinates, colors and varied textures. Several real journeys have been digitally distilled to become a beautifully abstracted experience, not unlike to the disconnection one has while riding public transport.
With a handheld 3D scanning device and a laptop, the artist rode the Denver Light Rail as he does every day for his commute. The train was scanned by walking through the car from one end to the other while en-route and train stations were captured with short strolls between stops. The fragmentation and gaps in data are defined by the physical bumps, speed, and curves in the journeys affecting the hand of the artist while scanning. While the final models are still, they are in fact documents of time, perspective and perception. In this way no two scans will ever be the same; each is documentation of that unique body on that particular journey.
Commissioned in 2013 by DENVER DIGERATI for the DENVER THEATRE DISTRICT
The invention of new modes of sensibility is vital to enriching and sustaining political engagements, labours and lives in the situated contexts of urban collectivity. The nanopolitics handbook investigates the neoliberal city and workplace, the politics of crisis and austerity, precarious lives and modes of collaboration – through bodies and their encounters. Starting from the exploration of what bodies can do – with curiosity, courage and care – nanopolitics is a proposal for producing new collective subjectivations.
Based on the experiments and experiences of the nanopolitics group, this book proposes exercises, concepts and ideas as little maps and machines for action. Drawing on social movements, grassroots organizing, dance, theatre and bodywork, the reflections and practices here present strategies for navigating and reconfiguring the playing field of ‘nanopolitics’, activating its entanglement with the major politics of our time.
Texts and exercises by: the nanopolitics group, esquizo-barcelona, David Vercauteren, Camila Mello and Fabiane Borges, Nelly Alfandari, Jorge Goia, Lottie Child, Carla Bottiglieri, Gabriella Alberti, Paolo Plotegher, Davyd Bodoun, Emma Dowling, Mara Ferreri, Manuela Zechner, Bue Rübner Hansen, Amit Rai, Anja Kanngieser, Lisa Burger, Irina Burger and Signe Lupnov.