Our efforts to date have allowed us plenty of opportunity to re familiarise ourselves with events and productions at deckspace and we continued digging out materials today.
James Braddell joined us for the start of the session on his way out to Rome. It was a great opportunity to discuss some assumptions about the value of archive and practical issues of identifying, processing and representing moving image. Much of his work expresses a wry sense of humour and explores the structures of music with texture and imagination. His latest video work ‘CITY‘ concentrates dense HD into immersive environment compositions.
For more than two decades Exploding Cinema have held open access screenings where thousands of makers make their films public for the love of it. Their zine style show booklets and posters pepper the whole archive. In 2005 the world turned in their home movies, cat fetishes and music videos to Youtube and since then billions pour their daily lives into the stew of social media silos. Finally we have been compromised by universal self and state surveillance.
There has been some breakthrough progress on our efforts to install Interlace as Robert had a bit of time to refine his codebase and get a version working for us for now.
You can now have review some of those SPC DV archives we already spent so many hours digitising but never edited. Interlace opens in a web browser and lays out the film strips end to end down the page.. to activate the viewer click any clip and and presto, like dropping the needle on a record. Each clip is then accessible for metadata tagging, interlinking and dynamic reordering by category and context. See also Video Vortex hyprid-reader.
Rachel Baker arrived in time to find us winding up the days work and reflecting on these screens, origins and objectives and had a lot to offer from her own experiences as member of Irational.org but also as early contributor at Backspace. She is currently at booksprint and urges us to produce a printable set of these notes as part of our workshops!
Irational will also organise a workshop in Lueneburg, the week before we run the Deckspace.TV workshop, on “Archaeology and Futurology of an Artserver An exhibition and event series by art collective irational “.
This ‘Screens’ workshop marked the 10th anniversary of the ‘DMZ‘ festival…
This week we set out to explore the material archive we have at Deckspace for the print, image and online records relating to SPC origins. Backspace was open and operational throughout 1996-2000 a period which primed us for so much we have experienced in the years that followed. Independent media production and political action gained new strengths from Internet based communication and we all had an experience of dynamism in the rush of attention on some of the work we produced and the reality of re-generation in the inner cities that eventually closed the space. Before that moment passed so much flowed through, around and over us on its way to the future it was hard to capture.
Javier arrived bang on time for the start of the session at 11am so we had plenty of opportunity to discuss current work and indulge in a little nostalgia for 1999-2003 during the early days of indimedia London and our adoption of Linux. He is currently campaigner at Open-Rights group as well as helping establish a bi-lingual freeschool in Brighton demonstrating an enduring enthusiasm and commitment to a wide scope of civic and political action. The following data dump of what’s new, related and essential in the field of archivism, rights and digital activism took place in a stream of consciousness hard to account for now. (ta for the list Javi !) We certainly talked a while about DIY book and newsprint scanners and the Free Births Deaths and Marriage register projects.
One aspect of the workshops is to dig through the accumulated archives (boxes) containing not least, posters, flyers and stickers for the J18 Carnival Against Capitalism. This crowned an golden period in Backspace when it was used as the first ever Indimedia Centre to help articulate the event and from where a coordination of videos arriving by cycle courier from the City of London actions were streamed to the worlds public via SPC servers.
Giovanni d’Angelo was one of the key backspacers and also joined us again for further excavations as we distilled the stored materials into specially cleared shelves in preparation for closer examination and processing. Before long tables already loaded with lunch debris are joined by contents of the cd racks and VHS silos. The Art for Networks boxes brought up from bitspace featured OWN (in it’s earlier form as POD toolbox), Blink (our iteration of Frequency Clock) and Consume the Net were all featured in the exhibition alongside that of the many contributions curated by Simon Pope in 2002.
Adnan brought along newly acquired NFC/RFID tag writer for misc cards and stickers we have yet to activate but which form the publication and promotion component of our research program. Alexei Blinov, long term collaborator at SPC and instrumental to so much technical practice and support to so many arrived reminding us of his Broom project which utilised similar RFID readers and to help us round off the days work with beer before joining us at Exploding Cinema show in Brixton.
We discussed the GCHQ/NSA big data gathering concerning the change within legislation. The Criminal Justice Act, which was introduced 10 years ago by the British government in order to prevent free parties and festival initiated a mass movement of resistance (up to j18). Mark Harrision stated in an interview by Neil Transpontine (in the last edition of datacide), that “the Criminal Justice Bill was rushed in – and this drove much of the dance music scene back into the hand of The Industry”. Might Eben Moglen’s Freedom Box be a way out?
Due to the circumstances quickly changing this week’s workshop turned into a radical real time performance. The object in question was a parcel send to Mr. Rajab, see http://rajab.bitnik.org (& http://wikileaks.org/rajab).
This radical real time performance nicely fitted the theme of the fellowship Life vs. Object, with the fourth research cycle “Life versus Object. Comrade Things and Alien Life” focusing on the flattening out of ontological hierarchies between humans, animals, machines and objects and new parametric realities brought about by networked media environments.
The parcel left the Ecuadorian Embassy on Monday the 28th of October with the Twitter status: “Sending Nabeel Rajab a parcel containing a camera. Camera documents its journey through postal system in realtime. http://rajab.bitnik.org/post/1/img/173069.jpg …”
We only received a few images, then the camera went blank, and only black images were transmitted (we speculated that the camera might have been put into a bag). Furthermore we seemed not to move at all, and were stuck in the Parcelforce Depot for over a day.
On Tuesday things moved, and finally the parcel was transported to Stansted Airport, but with not the hoped outcome of being transported out of the country, on the contrary, after another day of waiting the parcel was brought back to the Parcelforce distribution center in Camden.
After still being there for another day !Mediengruppe Bitnik started to inquire into the whereabouts of the parcel and received conflicting status messages from Parcelforce and Fedex. Bitnik tweeted: “Fedex says parcel it’s at Parcelforce – they say it’s at Fedex. Our GPS says: http://goo.gl/maps/jbvPK“.
After this tweet, things suddenly seemed to be moving (if it was because of this tweet or not we shall never know). Wikileaks’ response to this was: “One can imagine the politics as the political hot-potato parcel is thrown between Royal Mail, Parcel Force, Fedex and UK Customs. No one wants to be left holding the parcel if a story breaks about refusing to let it through to Bahrain’s top political prisoner.”
The Parcel left the country on Thursday night, the 31st of October, on a flight to Paris. It only stayed at the Paris airport for some hours before being loaded onto a flight to Dubai, where it arrived on Friday morning.
Another day passed…
Unfortunately they lost the connection to the parcel on the 2nd of November around 9AM (GMT) for good. FedEx changed the status of them tracking the parcel to N/A, and !Mediengruppe Bitnik tweeted: “24’010 live images | 23’626 black images | 5594 km | 6 days | 6573 GPS readings | 3 countries | 3 airports |
#postdrone” & “ #Postdrone from Assange to Nabeel Rajab was stopped at Dubai Airport. But our journey to Bahrain is not over yet. Stay tuned for updates.”
This years Mozfest was again held at Ravensbourne College of Art in North Greenwich adjacent to the O2 Dome. Every view from inside through port holes a reminder of the spectacular transformation in the area since the new millennium.
One of the attractions for us this year was the more formal unveiling of the Firefox phone but there it was in little evidence after the opening night ( which I missed) Instead the mantra was of maker badges and the mushrooming interest and utility of Webmaker products.
One of these initiatives set out to specify a Webmaker teaching kit with kids in mind as well as those who are starting out.. by the time I found them much had already been done! All those post-it notes were transcribed and should appear on the mozfest site.. sometime.
Security and safety on the web was of course a theme on everyone’s mind this year the series of crypto workshops were well attended and explored how to use pgp for email, public key encryption tools for messaging and Tor for web browsers. Those of us with phones installed and configured ‘ChatSecure‘ for Android.
This weeks reSync workshop studies the mechanisms for broadcast we have made use of over the years.. We welcomed Anthony Davies from Maydayrooms and missed out on talking to Bruno Sanhueza DJ contributor to the WirelessFM we host at stream.spc.org.
When we first opened Deckspace in 2001 several of our longer term collaborators from Backspace were keen to continue with their live audio and streaming projects.
<Blink> was featured in a touring Arts for Networks exhibition and utilised the pioneering FrequencyClock engine designed and built by Adam Hyde. He installed a frequencyclock for <Blink> which we used at Deckspace for many years.
Jem Finer authored Longplayer in celebration of the millennium in 2000, a thousand year musical composition driven by supercolider scripts and. SPC has hosted the listening station since 2002 and we work with Longplayer Trust to keep the composition publicly available.
Pirate Radio Listening Station was designed and built by Heath Bunting and was moved to Deckspace from ICA in 2008. It lists pirate radio FM broadcasts receivable in the SE London area and remote control of the tuner which in turn re-streams the selected station.
In 2010 Rob Canning installed SourceFabric’s Airtime server but we haven’t turned to it as a tool so far. Its available at airtime.kiben.net
Today we have been talking about which of the newer solutions could be of use to us as we review the SPC repository we are building at Deckspace.tv. We like Pad.ma for its scope to manipulate meta data and will accommodate ‘deep links’ to the timeline. InterLace link
During the session it became clear our enthusiasm for bit torrent sync would present issues for our project as it is not open source so we looked at alternative methods of p2p transport for our report publishing. Gio turned up as we began this discussion and suggested we look at Retroshare and Adnan already has an install of Owncloud operational so issued us accounts to test out.
On Friday 11th October we held the first of a series of reSync workshops in Deckspace, ‘Wilderness’ where we reviewed tools for collaborative video production, considered how best to construct reports and investigated the mechanics of Bit Torrent Sync in preparation for inclusion at future workshops.
We began at noon with a run through of the objectives for the workshops and how we might sequence explanation, interaction and expression of the key activities successfully.
Archaeology of SPC resources, review discoveries and publish reports.
it’s the heap : frame : stack motif proposed by Jonathan Kemp.
Some preparation has been done to pull together disparate media files from the many deckspace workstations and external hard disks plus the webservers that host a mass of video, image and audio data. Adnan Hadzi has already engineered a collaborative process for filmmakers at Deptford.tv which we can utilise to annotate, store files and author fresh compositions.
There is a growing range of web browser based playback systems available which we will make use of eg. http://montageinterdit.net/ (which has been constructed by Robert Ochshorn also a research fellow of Lunueburg uni.)
Each report will detail the range of sources, selected files and size of the data sync.
We will author our own btsync install recipies for linux, windows and mac os users as we felt the available guides fall short in some respects.
Once we installed the available btsync software on desktop, laptop and portable devices we experimented to discover how best to operate the various options and to improve on communication of the p2p sharing concepts and implementation of btsync to date.
Print media to carry the nfc / qrcode that links to the report and associated media resources
Lets also identify case use for read only vs full access ie. server back up requires read only
scenario #1 mobile user wishing to sync library files
discover the URL to library description or send key to library email install btsync and subscribe to library
scenario #2 laptop user offers sync to local directory
we successfully synchronised mobile user (android) using backup by sending the library an email with secret in. We also used sync to the library by scanning the qrcode. both worked with mobile and wlan connection
scenario #3 we offered a read only sync folder on our server and syncronised between two laptops on our LAN and a mobile phone on 3G opterator. We also syncronised between 3 pc’s each able to add and remove files as well as reflecting updates with a full access.