Not Here Not There » Co-Editor Almanac/209156896252 Özden Şahin Ozden.Sahin@Leoalmanac.Org Volume Editors

LEA is a publication of Leonardo/ISAST.

vol 19 no 1 Volume Editors Lanfranco Aceti and Richard Rinehart Editors Özden Şahin, Jonathan Munro and Catherine M. Weir This LEA publication has a simple goal: surveying the current trends in augmented reality artistic interventions. There is no other substantive academic collection currently available, and it is with a certain pride that LEA presents this volume which provides a snapshot of current trends as well as a moment of reflection on the future ofAR interventions.

NOT HERE

NOT THERE Copyright 2013 ISAST Editorial Address Leonardo Electronic Almanac Leonardo Electronic Almanac Volume 19 Issue 1 Sabanci University, Orhanli - Tuzla, 34956 Date of publication January 15, 2013 Istanbul, Turkey ISSN 1071-4391 ISBN 978-1-906897-20-8 Email The ISBN is provided by Goldsmiths, University of London. [email protected]

lea publishing & subscription information Web Leonardo Electronic Almanac, Volume 19 Issue 1 » www.leoalmanac.org Editor in Chief » www.twitter.com/LEA_twitts Lanfranco Aceti [email protected] » www.flickr.com/photos/lea_gallery Not Here Not There » www.facebook.com/pages/Leonardo-Electronic- Co-Editor Almanac/209156896252 Özden Şahin [email protected] Volume Editors

Managing Editor Copyright © 2013 Lanfranco Aceti and Richard Rinehart John Francescutti [email protected] Leonardo, the International Society for the Arts, Sciences and Technology Editors Art Director Özden Şahin, Jonathan Munro and Catherine M. Weir Deniz Cem Önduygu [email protected] Leonardo Electronic Almanac is published by: Leonardo/ISAST Editorial Board 211 Sutter Street, suite 501 Peter J. Bentley, Ezequiel Di Paolo, Ernest Edmonds, Felice San Francisco, CA 94108 Frankel, Gabriella Giannachi, Gary Hall, Craig Harris, Sibel Irzık, USA Marina Jirotka, Beau Lotto, Roger Malina, Terrence Masson, Leonardo Electronic Almanac (LEA) is a project of Leonardo/ Jon McCormack, Mark Nash, Sally Jane Norman, Christiane The International Society for the Arts, Sciences and Technol- Paul, Simon Penny, Jane Prophet, Jeffrey Shaw, William ogy. For more information about Leonardo/ISAST’s publica- Uricchio tions and programs, see http://www.leonardo.info or contact [email protected]. Contributing Editors Nina Czegledy, Susan Collins, Leonardo Da Vinci, Anna Leonardo Electronic Almanac is produced by Dumitriu, Vince Dziekan, Darko Fritz, Marco Gillies, Davin Passero Productions. Heckman, Saoirse Higgins, Jeremy Hight, Denisa Kera, Frieder Nake, Vinoba Vinayagamoorthy Reposting of this journal is prohibited without permission of Leonardo/ISAST, except for the posting of news and events listings which have been independently received.

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Not Here, Not There: An Analysis Of An International The Leonardo Electronic Almanac Collaboration To Survey acknowledges the kind support for this issue of Augmented Reality Art

Every published volume has a reason, a history, a ties and differences, contradictions and behavioral conceptual underpinning as well as an aim that ulti- approaches. The interviews add a further layer of mately the editor or editors wish to achieve. There documentation which, linked to the artists’ statements, is also something else in the creation of a volume; that provides an overall understanding of the hopes for is the larger goal shared by the community of authors, this new artistic playground or new media extension. artists and critics that take part in it. What I personally wanted to give relevance to in this volume is the artistic creative process. I also wanted to This volume of LEA titled Not Here, Not There had a evidence the challenges faced by the artists in creat- simple goal: surveying the current trends in augment- ing artworks and attempting to develop new thinking ed reality artistic interventions. There is no other sub- and innovative aesthetic approaches. stantive academic collection currently available, and it is with a certain pride that both, Richard Rinehart and The whole volume started from a conversation that I myself, look at this endeavor. Collecting papers and had with Tamiko Thiel – that was recorded in Istanbul images, answers to interviews as well as images and at Kasa Gallery and that lead to a curatorial collabo- artists’ statements and putting it all together is per- ration with Richard. The first exhibitionNot Here at haps a small milestone; nevertheless I believe that this the Samek Art Gallery, curated by Richard Reinhart, will be a seminal collection which will showcase the was juxtaposed to a response from Kasa Gallery with trends and dangers that augmented reality as an art the exhibition Not There, in Istanbul. The conversa- form faces in the second decade of the XXIst century. tions between Richard and myself produced this final volume –Not Here, Not There – which we both As editor, I did not want to shy away from more criti- envisaged as a collection of authored papers, artists’ cal essays and opinion pieces, in order to create a statements, artworks, documentation and answers to documentation that reflects the status of the current some of the questions that we had as curators. This is thinking. That these different tendencies may or may the reason why we kept the same questions for all of not be proved right in the future is not the reason for the interviews – in order to create the basis for a com- the collection, instead what I believe is important and parative analysis of different aesthetics, approaches relevant is to create a historical snapshot by focusing and processes of the artists that work in augmented on the artists and authors developing artistic practices reality. and writing on augmented reality. For this reason, Richard and I posed to the contributors a series of When creating the conceptual structures for this col- questions that in the variegated responses of the lection my main personal goal was to develop a link artists and authors will evidence and stress similari- – or better to create the basis for a link – between ear-

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lier artistic interventions in the 1960s and the current porary artists that use augmented reality as a medium. in order to gather audiences to make the artworks making use of their better knowledge of the AR media. artistic interventions of artists that use augmented Here, is not perhaps the place to focus on the role of come alive is perhaps a shortsighted approach that Nevertheless, this is knowledge born out of neces- reality. ‘publicity’ in art history and artistic practices, but a few does not take into consideration the audience’s neces- sity and scarcity of means, and at times appears to be words have to be spent in order to explain that pub- sity of knowing that interaction is possible in order for more effective than the institutional messages arriving My historical artist of reference was Yayoi Kusama licity for AR artworks is not solely a way for the artist that interaction to take place. from well-established art organizations. I should also and the piece that she realized for the Venice Bien- to gain notoriety, but an integral part of the artwork, add that publicity is functional in AR interventions to nial in 1966 titled Narcissus Garden. The artwork was which in order to come into existence and generate What perhaps should be analyzed in different terms the construction of a community – a community of a happening and intervention at the Venice Biennial; interactions and engagements with the public has to is the evolution of art in the second part of the XXth aficionados, similar to the community of ‘nudists’ that Kusama was obliged to stop selling her work by the be communicated to the largest possible audience. century, as an activity that is no longer and can no follows Spencer Tunic for his art events / human in- biennial’s organizers for ‘selling art too cheaply.’ longer be rescinded from publicity, since audience stallation. “By then, Kusama was widely assumed to be a public- engagement requires audience attendance and atten- “In 1966 […] she went uninvited to the Venice Biennale. ity hound, who used performance mainly as a way of dance can be obtained only through communication / I think what is important to remember in the analysis There, dressed in a golden kimono, she filled the lawn gaining media exposure.” 2 The publicity obsession, publicity. The existence of the artwork – in particular of the effectiveness both in aesthetic and participa- outside the Italian pavilion with 1,500 mirrored balls, or the accusation of being a ‘publicity hound’ could of the successful AR artwork – is strictly measured in tory terms of augmented reality artworks – is not which she offered for sale for 1,200 lire apiece. The be easily moved to the contemporary group of artists numbers: numbers of visitors, numbers of interviews, their publicity element, not even their sheer numbers authorities ordered her to stop, deeming it unaccept- that use augmented reality. Their invasions of spaces, numbers of news items, numbers of talks, numbers (which, by the way, are what has made these artworks able to ‘sell art like hot dogs or ice cream cones.’” 1 juxtapositions, infringements could be defined as of interactions, numbers of clicks, and, perhaps in a successful) but their quality of disruption. nothing more than publicity stunts that have little to not too distant future, numbers of coins gained. The The conceptualization and interpretation of this ges- do with art. These accusations would not be just ir- issue of being a ‘publicity hound’ is not a problem that The ability to use – in Marshall McLuhan’s terms – the ture by critics and art historians is that of a guerrilla relevant but biased – since – as in the case of Sander applies to artists alone, from Andy Warhol to Damien medium as a message in order to impose content by- action that challenged the commercialization of the Veenhof’s analysis in this collection – the linkage Hirst from Banksy to Maurizio Cattelan, it is also a passing institutional control is the most exciting ele- art system and that involved the audience in a process between the existence of the artwork as an invisible method of evaluation that affects art institutions and ment of these artworks. It is certainly a victory that a that revealed the complicit nature and behaviors of presence and its physical manifestation and engage- museums alike. The accusation moved to AR artists of group of artists – by using alternative methodological the viewers as well as use controversy and publicity as ment with the audience can only happen through being media whores – is perhaps contradictory when approaches to what are the structures of the capital- an integral part of the artistic practice. knowledge, through the audience’s awareness of arriving from institutional art forms, as well as galler- istic system, is able to enter into that very capitalistic the existence of the art piece itself that in order to ies and museums that have celebrated publicity as an system in order to become institutionalized and per- Kusama’s artistic legacy can perhaps be resumed in achieve its impact as an artwork necessitates to be element of the performative character of both artists haps – in the near future – be able to make money in these four aspects: a) engagement with audience’s publicized. and artworks and an essential element instrumental to order to make art. behaviors, b) issues of art economy and commercial- the institutions’ very survival. ization, c) rogue interventions in public spaces and d) Even if, I do not necessarily agree with the idea of a Much could be said about the artist’s need of fitting publicity and notoriety. ‘necessary manifestation’ and audience’s knowledge of The publicity stunts of the augmented reality interven- within a capitalist system or the artist’s moral obliga- the artwork – I believe that an artistic practice that is tions today are nothing more than an acquired meth- tion to reject the basic necessities to ensure an op- These are four elements that characterize the work unknown is equally valid – I can nevertheless under- odology borrowed from the second part of the XXth erational professional existence within contemporary practices and artistic approaches – in a variety of stand the process, function and relations that have to century. This is a stable methodology that has already capitalistic structures. This becomes, in my opinion, a combinations and levels of importance – of contem- be established in order to develop a form of engage- been widely implemented by public and private art question of personal ethics, artistic choices and ex- ment and interaction between the AR artwork and the institutions in order to promote themselves and their istential social dramas. Let’s not forget that the vast

1. David Pilling, “The World According to Yayoi Kusama,” The audience. To condemn the artists who seek publicity artists. majority of artists – and AR artists in particular – do Financial Times, January 20, 2012, http://www.ft.com/ not have large sums and do not impinge upon national cms/s/2/52ab168a-4188-11e1-8c33-00144feab49a. 2. Isabelle Loring Wallace and Jennie Hirsh, Contemporary Art Publicity and community building have become an budgets as much as banks, financial institutions, mili- html#axzz1kDck8rzm (accessed March 1, 2013). & Classical Myth (Farnham; Burlington, VT: Ashgate, 2011), 94. artistic methodology that AR artists are playing with by taries and corrupt politicians. They work for years

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Site, Non-site, and Website

with small salaries, holding multiple jobs and making hundred dollars, and they lend themselves to collabo- In the 1960’s, artist Robert Smithson articulated the and virtual memorials. Moreover, public space is personal sacrifices; and the vast majority of them does rations based on global networks. strategy of representation summarized by “site vs. now truly open, as artworks can be placed any- not end up with golden parachutes or golden hand- non-site” whereby certain artworks were simultane- where in the world, without prior permission from shakes upon retirement nor causes billions of damage Problems though remain for the continued success of ously abstract and representational and could be site- government or private authorities – with profound to society. augmented reality interventions. Future challenges are specific without being sited. A pile of rocks in a gallery implications for art in the public sphere and the in the materialization of the artworks for sale, to name is an “abstract” way to represent their site of origin. discourse that surrounds it.” The current success of augmented reality interven- an important one. Unfortunately, unless the relation- In the 1990’s net.art re-de-materialized the art object tions is due in small part to the nature of the medium. ship between collectors and the ‘object’ collected and found new ways to suspend the artwork online ManifestAR develops projects using Augmented Real- Museums and galleries are always on the lookout for changes in favor of immaterial objects, the problem between website and non-site. In the 21st century, ity (AR), a new technology that – like photography be- ‘cheap’ and efficient systems that deliver art engage- to overcome for artists that use augmented reality new technologies suggest a reconsideration of the re- fore it – allows artists to consider questions like those ment, numbers to satisfy the donors and the national intervention is how and in what modalities to link the lationship between the virtual and the real. “Hardlinks” above in new ways. Unlike Virtual Reality, Augmented institutions that support them, artworks that deliver AR installations with the process of production of an such as QR codes attempt to bind a virtual link to our Reality is the art of overlaying virtual content on top of visibility for the gallery and the museum, all of it with- object to be sold. physical environment. physical reality. Using AR apps on smart phones, iPads, out requiring large production budgets. Forgetting and other devices, viewers look at the real world that art is also about business, that curating is also Personally I believe that there are enough precedents Throughout the 1970’s, institutional critique brought around them through their phone’s camera lens, while about managing money, it means to gloss over an im- that AR artists could refer to, from Christo to Marina political awareness and social intervention to the site the app inserts additional images or 3D objects into portant element – if not the major element – that an Abramovich, in order develop methods and frame- of the museum. In the 1980’s and 90’s, street artist the scene. For instance, in the work Signs over Semi- artist has to face in order to deliver a vision. works to present AR artworks as collectable and such as Banksy went in the opposite direction, critiqu- conductors by Will Pappenheimer, a blue sky above sellable material objects. The artists’ ability to do so, ing the museum by siting their art beyond its walls. a Silicon Valley company that is “in reality” empty Augmented reality artworks bypass these financial to move beyond the fractures and barriers of insti- contains messages from viewers in skywriting smoke challenges, like daguerreotypes did by delivering a tutional vs. revolutionary, retaining the edge of their Sited art and intervention art meet in the art of the when viewed through an AR-enabled Smartphone. cheaper form of portraiture than oil painting in the aesthetics and artworks, is what will determine their trespass. What is our current relationship to the sites first part of the XIXth century, or like video did in the future success. we live in? What representational strategies are con- AR is being used to activate sites ranging from Occupy 1970s and like digital screens and projectors have temporary artists using to engage sites? How are sites Wall Street to the art exhibition ManifestAR @ ZERO1 done in the 1990s until now, offering cheaper systems These are the reasons why I believe that this collec- politically activated? And how are new media framing Biennial 2012 – presented by the Samek Art Gallery to display moving as well as static images. AR in this tion of essays will prove to be a piece, perhaps a small our consideration of these questions? The contempo- simultaneously at Bucknell University in Lewisburg, PA sense has a further advantage from the point of view piece, of future art history, and why in the end it was rary art collective ManifestAR offers one answer, and at Silicon Valley in San Jose, CA. From these con- of the gallery – the gallery has no longer a need to worth the effort. temporary non-sites, and through the papers included purchase hardware because audiences bring their “Whereas the public square was once the quintes- in this special issue of LEA, artists ask you to recon- own hardware: their mobile phones. sential place to air grievances, display solidarity, sider the implications of the simple question wayn Lanfranco Aceti express difference, celebrate similarity, remember, (where are you now?) The materiality of the medium, its technological revo- Editor in Chief, Leonardo Electronic Almanac mourn, and reinforce shared values of right and lutionary value, in the case of early augmented reality Director, Kasa Gallery wrong, it is no longer the only anchor for interac- Richard Rinehart artworks plays a pivotal role in order to understand its tions in the public realm. That geography has been Director, Samek Art Gallery, Bucknell University success. It is ubiquitous, can be replicated everywhere relocated to a novel terrain, one that encourages in the world, can be installed with minimal hassle and exploration of mobile location based monuments, can exist, independently from the audience, institutions and governmental permissions. Capital costs for AR installations are minimal, in the order of a few

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Leonardo Electronic Almanac Volume 19 Issue 1

5 EDITORIAL Lanfranco Aceti AUGMENTED RESISTANCE: THE 106 POSSIBILITIES FOR AR AND DATA DRIVEN ART INTRODUCTION Richard Rinehart 9 + Interview, Statement, Artwork Conor McGarrigle THE VARIABLE MUSEUM: OFF-TOPIC ART 12 + Interview, Statement, Artwork SITUATED SOUNDSCAPES: REDEFINING John Bell 122 MEDIA ART AND THE URBAN EXPERIENCE + Interview, Statement, Artwork TRANSLOCATED BOUNDARIES Natasa Paterson & Fionnuala Conway 20 + Interview, Statement, Artwork Jacob Garbe A NEW RELIC EMERGES: IMAGE AS 140 SUBJECT TO OBJECT IN BETWEEN: EXPERIENCING LIMINALITY + Interview, Statement, Artwork 44 + Interview, Statement, Artwork Rebecca Peel Dragoş Gheorghiu & Livia Ştefan RE-VISUALIZING AFGHANISTAN IN HACKING: A NEW POLITICAL AND 158 “WHAT IF IM THE BAD GUY”: USING 62 CULTURAL PRACTICE PALIMPSEST TO CREATE AN AR Christina Grammatikopoulou DOCUMENTARY + Interview, Statement, Artwork CONNECTICITY, AUGMENTED PERCEPTION Aaron A. Reed & Phoenix Toews 76 OF THE CITY + Interview, Statement, Artwork Salvatore Iaconesi & Oriana Persico

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ABSTRACT

Hacking: A new Hacking and file sharing are daily acts that have come to constitute cultural practices. There is a significant political dimension in downloading political and cultural and transforming files, joining virtual communities and online protests, that is easily detectible in recent developments regarding government transparency and open access to information. This mentality is reflected on practice contemporary culture, where the participation of the public in the creative act and the ‘remixing’ of existing forms are standard practices. As exam- by “Hackers create the possibility of new things entering the world. […] In art, in science, in philosophy ples that substantiate the concept of cultural hacking, the article presents and culture, in any production of knowledge where CHRISTINA data can be gathered, where information can be the works of artists that focus on hacking, hacktivism and piracy, either extracted from it, and where in that information as acts that bring the artwork into existence or as ways of initiating the GRAMMATIKOPOULOU new possibilities for the world are produced, there are hackers hacking the new out of the old.” public into these practices. Through the examples of artworks that belong — McKenzie Wark, A Hacker Manifesto MSc, Ph.D. Candidate 1 in different spheres –the virtual, the hybrid or the urban space- hacking Universitat de Barcelona, Facultat de Filosofia, Geo- emerges as the common thread that links software-based art, augmented grafia i Història, Departament d’Història de l’Art INTRODUCTION [email protected] reality art and street art. http://www.interartive.org The era that started with the massive revelations of classified documents by Wikileaks culminated in in collaborative actions. Hacking and hacktivism have trix. It is, therefore, interesting to see how the idea of the Arab spring and has since caused multiple so- thus gained the force of cultural and political phenom- intervening in a system has changed the perception of cial and political vibrations. It revealed the potential ena; and these two aspects will be the main focus of reality and art. By looking into a range of examples of of the Internet as a revolutionary tool and prepared this paper, following an interdisciplinary analysis that ‘cultural hacking’ –street art and augmented reality art- the ground for the subsequent outburst of a guerilla expands through the fields of art, Internet and politics. one can track the evolution of these phenomena and information war between Internet activists and mul- see how the interest has shifted from the ‘sacred art tinational companies or governments over freedom Contemporary artistic practice often encourages object’ to art as an everyday experience and from the on the Internet. In this context a range of initiatives in people to undertake political action online or to ex- ‘solid world’ to an immaterial and fluid space, where social networks to raise awareness and to motivate pand their cultural knowledge by hacking. This is evi- the intervention of the public is a vital element of the people politically have marked a period of constant dent in diverse artworks that are based on hacking as process. political and cultural change. an artistic medium, as a cultural practice or a subject; these examples reflect the emergence of alternative In this paper we shall focus on how the discourse From the shady depths of the web and the complex ways of (re)acting within the social frame and outline about free information flow has had an impact on world of programming, hacking has risen to the sur- a different future for art and politics. artistic practices, and how artists, in turn, have sought face as an everyday practice that is awakening a new to initiate the public in this ideology through specific sense of citizenship; instead of following the news Beyond art spaces, the idea of ‘hacking’ as a means of artworks and actions. Therefore, after noting how the passively, people gather in online groups, share infor- intervening in a space and expanding the experience public is initiated into the process of file sharing, hack- mation and take substantial political action. Any indi- of reality has gained the force of a cultural phenom- ing and hacktivism on an everyday level, we shall see vidual can become part of these groups, from any part enon. Street art, artistic actions in the urban space, as how these actions are used as artistic tools within the of the world, without any particular skills or ‘weapons,’ well as artworks based on augmented reality, could virtual and the real space. simply by expressing ideas online and participating be considered as a form of hacking in the urban ma-

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Deeply politicized but inherently playful, the artistic practices described here can easily grab the attention of the people and stimulate their intention to protest and intervene on a political level.

HACKING AND INFORMATION SHARING AS the producers or artists base a significant part of their and ‘activism’). Although piracy simply refers to the online and how technological development can lead to COMMON AND REVOLUTIONARY PRACTICES work on crowdsourcing and participation. In other act of leaking and sharing content illegally, the motives political changes. These developments presupposed words, we are dealing with two-way interactions. On can also be political. an online fight for freedom of information that went During the past decades, the advent of information one hand, the actions of the Internet users –their through blogs and social networks, media networks technologies has changed drastically the ‘material- preferences, their emails and their networks- are Despite the differences between the terms, they often that are controlled by people. Moreover, when the ity’ of everyday life. Communication, entertain- being registered and analysed in order to maximise imply one another –for example, ‘hacktivism’ could authorities tried to confront this digital revolution by ment and education are continually being distanced the impact of advertisement campaigns or product include entering a system and disseminating informa- cutting access to the Internet –in the case of the Arab from their previous connection to paper, celluloid, launches; on the other hand, the users share, alter and tion illegally. world-, or blocking funds sustaining the whistleblow- vinyl and other materials. Turning into digital files, that download content, participating thus actively in the ers –in the case of Wikileaks-, hackers and online com- can be easily shared, altered, copied or erased. 2 A dissemination of information and playing a decisive From the controversy of the trial of the Pirate Bay, to munities counterattacked. Their means of defence digital file is based on matter as well: tiny particles, role in the reception of cultural products. 4 the foundation of the Pirate Party International, which and the attack were providing numbers of interna- electrodes. However, this minimal matter needs to go defends the right to free distribution of information tional Internet Service Providers, in the first case, to through a set of complex codes and technologies in Within a reality where personal pages and networks online, from the protests against laws that enforce enable Internet access for the Egyptian protesters, order to be transformed into a world of fleeting im- allow any user to produce and disseminate data, in- copyright to the Wikileaks case and the Arab spring, and unleash denial of service attacks against the web- ages, words and sounds, which have a different impact formation is becoming disassociated from the estab- one can see that the discourse about hacking, hacktiv- sites of the enterprises that supported the blockage than their ‘solid’ counterparts. Hence, an interdisciplin- lished cultural and media networks, such as museums, ism and piracy expands beyond the limits of the In- of Wikileaks funds in the second case. 9 ary discourse about this phenomenon has arisen to official institutions and newspapers, whereas the ternet. This is mainly because these acts question the analyze multiple aspects –sociological, artistic, psycho- public becomes an active agent in artistic and political existing distribution of information and power. One should note that the conflicts mentioned above logical and other- of what is being called ‘immaterial,’ developments. The doctrine beneath this develop- still have the same roots as the ones in the pre- ‘dematerialized’ or ‘hypermaterialized’ space. 3 The ment is “information wants to be free.” 5 People de- Hence, under the same political umbrella of freedom Internet age. What is more, the ‘digital revolution’ still point of convergence among the different analyses fend the right to freedom on the Internet by reacting online, one can find diverse ideologies, with elements needed to be combined with traditional forms of and definitions is that within this space, matter is an against any law or technical implementation that tries from libertarianism, anarchist thought, the free culture protest in the streets; as Athina Karatzogianni notes, ensemble of information, interaction and perception. to restrict it; their counteractions frequently include movement –rebaptized nowadays into ‘open source,’ “the groups engaging in cyberconflicts are still fighting hacking, hacktivism and piracy. so as to remove any political connotations- and hacker for power, participation, democracy but are using an This state of minimal matter loaded with data cre- culture. In all, these political currents are described as accelerated process and a postmodern medium that ates a fluid environment, where a new socio-political Although the three terms are often used within the “information age ideologies.” 7 enables asymmetries, empowering the previously mar- balance is created as new controversies take place. same breath or interchangeably, there are certain dif- ginalised or repressed […] to foster unprecedented Although these controversies reflect already existent ferences between them. Originally used for journalism People that share the information age ideologies “talk social and political change.” 10 An old battle with new, competitive forces, they are further intensified by the based on unorthodox methods, the term ‘hack’ was about Internet as communication” 8 –whereas for the downloadable weapons. dynamic introduced of an information society, which adopted by the early programmers to describe a cre- entertainment industry and other producers, online constantly changes the coordinates of contemporary ative solution reached through detours and reworking data are copyrighted or protected content. Addition- The public can easily become involved in the online reality. of existing systems. 6 In this sense, hacking is synony- ally, they defend their right to have access to any kind battle, since they are already used to the idea of ac- mous with evolution in information technologies since of information, whether it is relevant to culture or quiring, altering and sharing data. One could say that, One of the important parameters of this new bal- each development is based on the hacking of previous political actions. after Beuys’ affirmation “every person is an artist” and ance is a significant differentiation in the traditional ones. A hacker is someone who enters a system, ex- Warhol’s promise that “anyone can be famous,” the roles of the consumer and the producer, the public plores and manipulates its tools, so as to learn how it During the past two years the information age ideolo- current revelation is that anyone can become a hacker. and the artist, which has shaken the foundations of works and alter it. When this method is used as part gies have contributed significantly to the shaping of the financial, political and cultural system. Nowadays, of a political action, in order to increase political trans- political events. The United States diplomatic cables The ‘information age ideologies’ are not always aimed such dipoles are being rendered meaningless since parency and raise awareness, we are talking about leak by Wikileaks and the Arab Spring are examples directly at political causes; they encompass different the public takes part in the creative process, whereas hacktivism (a neologism created from the words ‘hack’ that illustrate how political awareness can be raised manifestations of our lives, including contemporary

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art. The idea of ‘hacking’ is transferred onto the cultur- way. The “distributed authorship” 12 of the artwork al field as a medium of creation and as an autonomous is a realization of Roy Ascott’s vision that technology artistic practice. would enable the cooperation among different authors and the collaboration between the author and the audience. 13 Minds of Concern, 2002, Knowbotic Research, (screen print). CULTURAL HACKING: CREATION AS AN ACT OF Software Installation. Variable dimensions. Installation at the TRANSFORMATION This implies not only participating during the creative Museum of Contemporary Art of New York, Exhibition ‘Open process, but also reusing already existing cultural Source Art Hack.’ Image courtesy of Knowbotic Research. © In order to see how the idea of hacking has fostered a forms as ‘prime matter’ for the artwork. Dadaist ac- Knowbotic Research, 2002. new cultural paradigm, it is useful to have a look into tions like drawing a moustache over Mona Lisa –as the artistic and ideological background that preceded well as most of Duchamp’s art- are a way of remixing this evolution. and reusing known images in a new context: they are ‘Cultural hacking,’ in parallel to the generalized use of a form of ‘cultural hacking.’ Similarly, the Situation- the term, implies entering a system, understanding During the twentieth century artists began to expand ist concept of ‘détournement,’ which encouraged a how it works and creating something new out of it. their vision beyond the creation of the one and only subversive attitude towards the capitalist system, by Summing up its features, Franz Liebl, Thomas Düllo sanctifiedart object. By engaging in time-specific ac- reinterpreting and decontextualizing its logos and Minds of Concern, 2002, Knowbotic Research, (installation and Martin Kiel noted that it is about orientation and tions and counting on the interaction with the public, images, 14 as well as the appropriation and alteration view). Software Installation. Variable dimensions. Installation deorientation, seriousness and playfulness, bricolage they opened up a new road, where the public was of marketing strategies by the culture jammers of the at the Museum of Contemporary Art of New York, Exhibition and experimentation, radicalization of the original idea, called upon to form part of the artistic ritual, and to 1980s could also be viewed as forms of ‘hacking.’ 15 ‘Open Source Art Hack.’ Image courtesy of Knowbotic intervention onto a system and dissemination. 18 take part in the creative process. Research. © Knowbotic Research, 2002. These ideas prevailed once the ‘tyranny’ of originality These features will be illustrated more analytically In a way, the public has always had a substantial role in was rejected –the modernist notion that one needs to below, through the examples mentioned as forms of the creation of an artwork; for receiving is also a form start with a blank canvas or a raw material, and cre- cultural hacking, within three different dimensions: of producing. According to Michel de Certeau, daily life ate something unique. Instead, nowadays “the artistic through software by the artist or the public –roles that artworks of hacking online, where the public is initi- is a collective production of all the people that use cul- question is no longer: “what can we make that is new?” are interchangeable and shared. ated into information age ideologies and subversive tural products, ideas, spaces; a reader ‘inhabits’ a text, but “how can we make do with what we have?” 16 actions, hacking within a hybrid space –the real space in a similar way to someone who inhabits a room. 11 The act of downloading is a means of producing cul- viewed through augmented reality- and hacking within In this sense, those who receive an artwork can be Rather than seeking to create new images, artists take ture; by browsing, selecting, downloading and sharing the urban matrix by means of street art. viewed as active producers, not as passive consumers. ready ones and rework on them; the act of reworking one creates a ‘digital footprint’ and a new association on digital files, subverting previous uses of an object between the items selected, a personal viewpoint that Their role is even more crucial in interactive art. The or injecting images arbitrarily on the surface of the constitutes a ‘profile’ of one’s cultural preferences. So, SPREADING HACKER ETHICS AND DATA SHARING idea of interaction, although it’s nowadays primarily city via augmented reality and street art could be downloading is not about appropriating –defying own- IDEALS THROUGH ART linked to digital art, began with Dadaism and its 1960s viewed as a hacking of cultural forms. ership or taking something someone else owns- but offsprings, like the Fluxus movement. Thus the public about helping ideas and cultural objects circulate. As Hacking has recently become a significant source of became gradually accustomed to the notion that they Even though artists have always had a wide range of Bourriaud notes, “artists’ intuitive relationship with inspiration for artists who use software and the Inter- could contribute to an open artwork by acting and forms to work with –images from art history or every- art history is now going beyond what we call ‘the art net as a basic element of their work. By using hacker deciding. day objects- information technologies have multiplied of appropriation’, which naturally infers an ideology of methods, piracy and hacktivism, these artists not only these sources and their transformative potential. ownership, and moving toward a culture of the use of reflect the political events and social currents of our With the advent of digital technology, the interactive Within the Internet, one can find an endless array of forms, a culture of constant activity of signs based on time, but also create an environment where the public dimension of art came to the fore in a more prominent images and sounds, which can be digitally transformed a collective ideal: sharing.” 17 can get personal experience of these processes.

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The Transparency Grenade, 2012, Julian Oliver, (interface). Computer, microphone, wireless antenna, resin, silver. Variable dimensions. Image courtesy of Julian Oliver. © Julian Oliver, 2012.

Internet as a territory of information. In regard to the that served this purpose. In the shape of a deadly last, Miltos Manetas declared in his “Piracy Manifesto”: weapon, the artwork is equipped with advanced tech- “We all live in the Internet, this is our new country, the nological software that allows the capturing of data only territory that makes sense to defend and pro- from closed meetings. A tiny processor, a microphone The Pirate Bay at the Venice Biennale, 2009 (logo). Image Untitled (Pirate Painting), 2009, Miltos Manetas. Oil on canvas tect.” 22 The Internet is presented as an immaterial and a wireless antenna are put into function once courtesy of Miltos Manetas. © Miltos Manetas, 2009. and hard drive. 30 × 40 cm. Image courtesy of Miltos Manetas. world of information that runs in parallel with the real someone pulls the pin, capturing audio and network © Miltos Manetas, 2009. world, often intersecting with it, as we shall see in the traffic and streaming it live to a dedicated server. This case of augmented reality. means that any data captured; e-mail fragments, pages, images, voices can be instantly presented online. In Minds of Concern: Breaking News (2002) by Know- The reaction against cultural hacking left its mark on Julian Oliver also defends free information sharing botic Research, 19 presented in the Museum of Con- the Internet Pavilion of the 2009 Venice Biennale through his work; in the aftermath of the Wikileaks Thus the artist goes against the laws that encourage temporary Art of New York, the public is initiated into as well. The curator of the Pavilion Miltos Manetas, case he created a Transparency Grenade (2012) 23 opacity in governing and control in information shar- ‘white hat’ hacker ethics; this type of hacking involves known for his Internet art, created an Embassy of ing –laws based on the pretext of public security and breaking into a system to check for possible security Piracy, where he invited the Pirate Bay. 20 This invita- loss of revenue for content producers. Regarding the flaws, without altering it. Within a similar mindset, tion was an eloquent way of showing that the act of latter, he stated that, “with the Transparency Grenade the artwork invited the visitors to choose one target sharing and downloading files can constitute a cultural I wanted to capture those important tensions in an among websites of groups, movements and non- act, as was mentioned above. Additionally, the visi- iconic, hand-held package.” 24 By creating a down- governmental organizations, triggering a port scan of tors of the Embassy were offered tutorials on piracy loadable smartphone application with similar features the selected webpage. After a while, the participants and were informed about the significance of sharing as the Transparency Grenade, the artist provided the could see whether the security of the website could as a cultural act. The Pirate Bay, a website bring- public with a digital, yet powerful weapon, which can be breached and how vulnerable the site was against ing community together dedicated to file sharing, was easily turn anyone into a ‘whistleblower’ –following possible hacker attacks. received as a community of artists; this recognition the example of Wikileaks and other organizations that was in the same line as the awarding of the operat- are dedicated to revealing dishonest activities. Although the intentions of the artists were benign –to ing system Linux with a prestigious art prize, the ‘Prix warn the interested parties and the viewers about the Ars Electronica’ (1999). However, the presence of the In all the cases mentioned above, the artwork is a vital issue of security- the artwork was shut down af- Pirates in the Venice Biennale was met with hostility participatory experience, with the potential to initiate ter a few days, with the justification that port scanning, from the Italian authorities, who raided the Embassy the public into hacking methods and ethics. It is easy even though legal, went against the Internet provider’s claiming that “you cannot have the Pirate Bay here.” 21 to observe that although we are dealing with art that acceptable use policy. Therefore, this artwork illus- exists in the immaterial sphere of the digital, there is trates not only how hackers act –by encouraging the One can view the Embassy of Piracy controversy as The Transparency Grenade, 2012, Julian Oliver, (overview). a strong connection to politics off-line. The intercon- viewers to adopt such a role- but also how these acts the meeting point of three different “territories”: a Computer, microphone, wireless antenna, software, resin, nection between the real and virtual space via artistic are usually confronted –in a restrictive way, even if the state with laws that protect author rights, an artistic silver. 11,7 × 5,5 × 5,5 cm. Image courtesy of Julian Oliver. action performed is not illegal. place where new ideas are being explored and the © Julian Oliver, 2012.

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actions will be further examined with examples of Julian Oliver’s Artvertiser (2008) 26 runs the distance A similar ‘hacker’s’ approach to urban space is adopted to a large audience and thus motivating more artists augmented reality art and street art, which show a between the data-saturated air and the surface of the by artists who work with street art, invading the city to get involved in the movement. new way of acting within the urban space. city, trying to alter its aspect via augmented reality. and changing its predetermined appearance. Street Through a software platform, advertisement images art seizes the ‘non-places’ of the city –massive hous- This development illustrates how downloading and in the street are replaced with art images in real time. ing blocks, crumbling walls, decadent neighbourhoods, sharing information contributes to the creation of HACKING THE URBAN SPACE: AUGMENTED REALITY These artworks, created in advance by a multitude of chain stores and highways- and de-anonymizes them, culture, as was mentioned above. It is “the work of art AND STREET ART artists –sometimes as a parody or a response to the making the invisible visible again. Like hackers, these in the age of instant digital dissemination.” 28 original advertisement- become visible when some- artists alter the established rules of the urban matrix As a substrate for artistic action, the city is a place one looks at the advertisement billboards through and find ‘detours’ for changing it, by creating new There, numerous artists involved in street art that with already structured symbolic values, which influ- special glasses or a mobile device. nodes of meaning in space. could be mentioned as examples of ‘hacking’ in the ence people and their actions. The artists who work urban space; among them, Banksy is one of the most within the urban space seem to be aware of this fact; As the artwork is based on an open-source code, Even though, street art came before the expansion prolific ones. The artist takes ready images and mes- thus the artworks of augmented reality and street art which can be downloaded and modified by any user, it of information technologies, Internet gave it a sig- sages from art history, popular culture, advertisements are intrinsically linked to their environment, creating a highlights the ethos of collaborative effort underneath nificant boost: in fact, Street Art has been described and incorporates them into a subversive work, filtered dialogue with the city and its inhabitants. technological evolution. Moreover, it questions the as “the first truly post-Internet art movement, equally through a Duchampesque irony; it is a solid example established network of visibility within the city and at home in real and digital spaces as an ongoing con- of Bourriaud’s postproduction theory of how images Nowadays, it is becoming more evident than ever the hierarchical distribution of space, by visualizing a tinuum.” 27 readily become the prime matter to create new art- before, that the invisible and immaterial space is be- flow of data that come from an independent source, works. 29 ing oversaturated with information, flowing through and not the authorities, advertisement companies or Street art is the first massive artistic movement that the air, waiting to be processed and displayed with Internet ‘giants’ –the websites with the most traffic has flourished because of the Internet; its inherent Apart from his street art images, Banksy is often the right device. In fact, we are dealing with a hybrid and impact. ephemerality is counterbalanced by the extensive involved in guerrilla acts, raiding spaces in order to sphere of action, that keeps growing: the Google documentation of street art images online, through disrupt the flows of meaning and to create alterations glasses 25 that add a layer of virtual reality onto the The Artvertiser, 2008–2010, Julian Oliver. Software platform. digital files that enable the preservation and growth within their system –just like a hacker. real world with nonstop information flow, Quick Re- Variable dimensions. Image courtesy of Julian Oliver. © Julian of the movement. What is equally relevant here is sponse codes that can be scanned through mobile Oliver, 2008–2010. the fact that the public has acted as a catalyst to the In his ‘attack’ against Disneyland (2006) 30 Banksy devices and lead directly to a website, smartphones popularity and omnipresence of Street Art. As it is entered the entertainment park and installed an in- that provide constant Internet connection are some accessible to everyone, people take pictures and dis- flatable figure representing a Guantanamo prisoner. examples of this growing trend. Within this context, it seminate them through the web, making them visible The artist manipulated the elements of a system with is interesting to have a look onto augmented reality art that is based on these developments, often pre- ceding them.

Installation of an inflatable figure representing a Guantanamo The Artvertiser, 2008–2010, Julian Oliver. Software platform. Variable prisoner in Disneyland, 2006, Banksy. Video still from the dimensions. Image courtesy of Julian Oliver. © Julian Oliver, 2008–2010. video of the action on YouTube.

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The reception of Banksy’s actions ultimately reveals the attempt to control culture, by limiting it to established cultural sites –a control that the ‘cultural hackers’ of the real or virtual space seek to override.

CONCLUSION References and Notes

As solidity gives way to the immaterial world of code Hacker and pirate practices, like port scans, security 1. Wark McKenzie, A Hacker Manifesto, (Cambridge, MA: and the everyday life becomes more and more depen- breaches, downloading of copyrighted material, enter- Harvard University Press, 2004), 2. dent on a constant flow of information, new dynamics ing systems, dissemination of information, become 2. Christina Grammatikopoulou, “Stepping Towards the Peckham Rock (Early Man Goes To Market), 2005, Banksy. have arisen in politics and culture. The role of Internet the prime ways through which the artworks analysed Immaterial: Digital Technology Revolutionizing Art,” in Concrete. 15 × 23 cm. Photograph by Alexander de Querzen. users becomes vital; as they download, share and alter here come into existence. These actions take place Transforming Culture in the Digital Age, ed. Agnes Aljas, Image courtesy of Alexander de Querzen. files, new nodes of communication and meaning are either in the virtual space, the urban matrix or an in- et.al., 367–372 (Tartu: Estonian National Museum, Estonian created that often override existing laws regarding between state of augmented reality, where the two Literary Museum, University of Tartu, 2010). information exchange. worlds intersect. 3. Christina Grammatikopoulou, “Shades of the immaterial: established values –in this case Disneyland- in order to Different Approaches to the ‘Non-Object,’” inInterar - awaken the visitors from their oblivious state and to While the issue of free information becomes the start- ‘Cultural hacking,’ the tendency to remix existing tive 40 (February 2012), http://interartive.org/index. make them face reality. Like the hacking of a website ing point of diverse cultural and political movements, cultural forms and to alter systems, introducing new php/2012/02/shades-of-the-immaterial (accessed April –where the content is taken down and replaced by a “the hacker emerges as the new leading figure of the elements that foment cultural and social evolution, is 10, 2012). text of protest- or the ‘leakage’ of disclosed informa- intellectual,” 33 a catalyst that allows technological becoming a growing cultural and political practice. In a 4. Jonas Andersson, “For the Good of the Net: The Pirate tion, Banksy reminds the public of Disneyland of what and ideological developments to happen. Hacking, world where anyone can be a hacker, political and cul- Bay as a Strategic Sovereign,” Culture Machine 10 (2009): is going on behind the colourful curtain of consumer- hacktivism and piracy, are fermenting a multitude of tural change is only a matter of a few mouse-clicks. ■ 72–73. ism. At the same time, he compares an entertainment changes in the social tissue. Providing people with 5. Stewart Brand, The Media Lab: Inventing the Future at park to a detention camp, adding a very dark hue to the tools to form groups, make their demands and MIT, (New York: Penguin Books, 1989), 202. The phrase mainstream culture. 31 trigger cultural and political evolutions, acting beyond is attributed to Stewart Brand. Although in the original the conventional networks of distribution of informa- phrase “free” meant costless, taken out of context, it came Although there is certain playfulness to Banksy’s action. It is true that these ‘tools” can often be used in a to represent the idea of liberty on the Internet. tions, a closer look into the images he installs reveals harmful way; however, our main focus here has been 6. Franz Liebl, Thomas Düllo and Martin Kiel, “Before and a profound criticism of contemporary culture. In the cultural aspect of the phenomenon: how people After Situationism – Before and After Cultural Studies: The Peckham Rock (Early man goes to market, 2005) he are being encouraged to take initiative, get a better Secret History of Cultural Hacking,” in Cultural Hacking, placed an artefact that resembled a prehistoric paint- understanding of technology and participate in the Kunst des Strategischen Handelns, ed. Thomas Düllo and ing of a man with a shopping trolley onto the walls of creation of culture. Franz Liebl, 13 (Wien: Springer, 2005). the British museum, with a caption that credited the 7. Athina Karatzogianni, “WikiLeaks Affects: Ideology, Conflict work to Banksymus Maximus and described is as art Without doubt, these acts can have a prominent politi- and the Revolutionary Virtual,” in Digital Cultures and the from the “post catatonic era.” 32 The work blended cal character, since the ‘information age ideologies’ Politics of Emotion: Feelings, Affect and Technological so well with the rest of the exhibits in the room that that inspire them challenge the political and financial Change, ed. Athina Karatzogianni and Dr. Adi Kuntsman, it went unnoticed for a few days. Although the Brit- status quo. This is reflected in ‘hack’ art, particularly 59 (Basingstoke: Palgrave Macmillan, 2012). ish Museum received the action with a sense of hu- works that highlight the underlying conflicts and acknowledgements 8. Rasmus Fleischer and Palle Torsson, “The Grey Commons mour, adding the artwork to its permanent collection, stimulate the people to take an active part in them, by – Strategic Considerations in the Copyfight,” lecture, 22C3 Banksy’s arbitrary presence is not always so welcome. learning, participating and making a contribution. Art- This paper was written within the frame of my main doctoral Conference, Berlin, December 2005, http://events.ccc.de/ Other ‘attacks’ against cultural institutions –installa- ists and viewers equally share the roles of consumers research at the University of Barcelona, tutored by Professor congress/2005/fahrplan/attachments/627-Thegreycom- tions of artworks that mix harmonically with the style and producers of cultural objects that are based on Anna Casanovas. I would like to thank Julian Oliver, Miltos mons.rtf (accessed April 10, 2012). of the collection and the exhibition space, but with a the recycling and ‘remixing’ of already existent picto- Manetas and Knowbotic Research for granting me with the 9. See “Old Technology Finds Role in Egyptian Protests,” subversive element that introduces distraction in the rial forms, subject to incessant change. permission to use their images and providing me with all BBC News, January 31, 2011, http://www.bbc.com/news/ flow of meaning- were perceived as disrespectful acts the necessary information. I owe a very special thank you to technology-12322948, (accessed April 10, 2012) and by the officials of the institutions. Alexander de Querzen, for his valuable help throughout my Noam Cohen, “Web Attackers Find a Cause in Wikileaks,” research on hacking and information technologies. New York Times, December 9, 2010, http://www.nytimes.

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com/2010/12/10/world/10wiki.html?pagewanted=all (active 18 (February 2010) http://interartive.org/index. cessed April 10, 2012). php/2010/02/piracy-manifesto (accessed April 10, 2012). 10. Karatzogianni, “Wikileaks Affects,” 60. 23. “The Transparency Grenade,” the transparency grenade 11. Michel De Certeau, The Practice of Everyday Life, (Berke- website, http://transparencygrenade.com (accessed April ley and Los Angeles, CA: University of California Press, 10, 2012). 2011), xxi. 24. “The Transparency Grenade,” We Make Money Not Art, 12. Edward A. Shanken, “From Cybernetics to Telematics: The February 15, 2012, http://www.we-make-money-not-art. Art, Pedagogy and Theory of Roy Ascott,” in Roy Ascott, com/archives/2012/02/the-transparency-grenade.php Telematic Embrace: Visionary Theories of Art, Technology (accessed April 10, 2012). and Consciousness (Berkeley and Los Angeles: University 25. “Project Glass,” website of the project, https://plus.google. of California Press, 2007), 65. com/111626127367496192147/posts, (accessed April 10, 13. Roy Ascott, “Behaviourist Art and the Cybernetic Vision 2012). (1966–67),” in Roy Ascott, Telematic Embrace: Visionary 26. “The Artvertiser,” theartvertiser website, http://theartver- Theories of Art, Technology and Consciousness (Berkeley tiser.com, (accessed April 10, 2012). and Los Angeles: University of California Press, 2007), 146. 27. Martin Irvine, “The Work on the Street: Street Art and 14. Nicolas Bourriaud, Postproduction: Culture As Screen- Visual Culture,” in The Handbook of Visual Culture, ed. play: How Art Reprograms the World (New York: Lukas & Barry Sandywell and Ian Heywood, 235–278 (London and Sternberg, 2002), 35–37. New York: Berg, 2012). 15. Wolfgang Ullrich, “Art and brands: Who learns from 28. Ibid. whom? Brands – competing with art,” in Art & Branding. 29. Bourriaud, Postproduction, 13–19. Principles – Interaction – Perspectives, eds. Hans-Jörg 30. “Banksy at Disneyland 2006,” video of the action, http:// Heusser and Kornelia Imesch, 44–48 (Zürich: Schweizeri- www.youtube.com/watch?v=jkZoC6dwRqE, (accessed sches Institut für Kunstwissenschaft, 2006). April 10, 2012). 16. Bourriaud, Postproduction, 17. 31. Joseph Pugliese, “Apostrophe of Empire. Guantánamo 17. Ibid., 9. Bay, Disneyland,” Borderlands 8, no. 3 (2009), http://www. 18. Liebl, Düllo and Kiel, “Before and After Situationism,” borderlands.net.au/vol8no3_2009/pugliese_apostrophe. 28–30. pdf (accessed April 10, 2012). 19. The work was presented in the New Museum of Contem- 32. Luke Dickens, “Placing post-graffiti: the journey of the porary Art of New York, in the exhibition ‘Open Source Art Peckham Rock,” in Cultural Geographies 15, no. 4 (2008): Hack’ (2002). “Minds of Concern: Breaking News,” Web- 471–496. site with information about the work, http://www.krcf.org/ 33. Claus Pias, “Der Hacker,” in Grenzverletzer: von Schmug- krcfhome/unitedhome/ny (accessed April 10, 2012) glern, Spionen und anderen subversiven Gestalten, eds. 20. Jan Aman, “In At The Deep End,” Dazed & Confused 177, Eva Horn, Stefan Kaufmann and Ulrich Bröckling, 270, (September 2009), 112–115. (Berlin: Kadmos, 2002). 21. “Guardia di Finanza Raided Embassy of Piracy at Venice Biennale,” Embassy of Piracy, August 6, 2009, http:// embassyofpiracy.org/2009/06/guardia-di-finanza-raided- embassy-of-piracy-at-venice-biennale (accessed April 10, 2012). 22. Miltos Manetas, “Pirates of the Internet Unite!” Interar-

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