Main

May 25, 2006

Kok-Chian Leong: Corporate Sabotage

shown in conjunction with ISEA festival, San Jose, 2006

The project examines the private politics behind the corporate world, an environment where competitiveness turns into deceit. It focuses on the covert act of sabotaging office communications and equipment to reduce its efficiency in daily operations. This act creates a suspense in the strange imperfections, the unnerving fault finding performed on the equipment and the growing frustrations by the co-workers.

Weapons for the corporate armoury investigates the possibility of designing a weapon that inflicts trauma on your co-worker in a non-lethal manner, thereby allowing you to get ahead in business. The project examines the private politics behind the corporate world, an environment where competitiveness turns into deceit. It focuses on the covert act of sabotaging office communications and equipment to reduce its efficiency in daily operations. This act creates a suspense in the strange imperfections, the unnerving fault finding performed on the equipment and the growing frustrations by the co-workers.

The narrative
The relationship between the co-workers deteriorate as a result.. The consequences became so drastic that the victim's performance drops and eventually loses his job.

The tools/design
The Firefly tool intercepts the scanning job through the use of intermittent bright flashing lights in the scanner. The frequency of activation causes disturbances to the output. The result is random imperfect quality on the final scanned document.

The Woodpecker tool produces irregular stamping action in the printer. This action is synchronised with the mechanical movement of the print head to create an array of patches in the final printout, rendering it useless.

The Cateye tool is basically the eye of the saboteur. It is a spy camera that [provides a visual overview of the victim's actions and intentions. It has to be strategically placed within the operations area.

April 12, 2006

Fine Cell Work

http://www.finecellwork.co.uk/ix/home

Fine Cell Work is a Registered Charity that teaches needlework to prison inmates and sells their products. The prisoners do the work when they are locked in their cells, and the earnings give them hope, skills and independence.

Savings reduce the likelihood of offenders returning to crime. Prisoners often send the money they earn from Fine Cell Work to their children and families, or use it to pay debts or for accommodation upon release.

The inmates are all taught by volunteers from the Embroiderers Guild, the Royal School of Needlework and the world of professional design. Once trained, they can be responsible for difficult commissions done to deadlines, and support other inmates who are still learning.

April 07, 2006

Exhibition: Black Panther Rank and File

http://www.ybca.org
Center for the Arts, Yerba Buena, San Francisco
First Floor Galleries: Mar 18 - Jul 2, 2006


Pirkle Jones, Women, Free Huey Rally, Oakland, 1968

We want freedom. We want power to determine the destiny of our Black Community.

So begins the ten-point political platform of the Black Panther Party. Coinciding with the 40th anniversary of the founding of the Party, Black Panther Rank and File offers a multifaceted look at one of the 20th century's most controversial and inspirational organizations.

The exhibition pairs rare artifacts--never-before-released documents, recordings, film clips and archival photos, including seminal historical photography--with artworks inspired by the movement and reflecting its liberating ideals. A range of photography, film and artworks from leading contemporary artists will reflect upon the Party's lasting legacy. Also on view will be works by artists who were creating during the rise of the Party. This complex and powerful exhibition uses the Black Panther Party as a lens through which we can explore the role artists play in inspiring social change, and in remembering and reflecting on human struggle and achievement.

Artist list:
Radcliffe Bailey
John Bankston
Ruth-Marion Baruch
Joseph Beuys
Margaret Bourke-White
Nick Cave
Emory Douglas
Ducho Dennis
Sam Durant
Coco Fusco
Ellen Gallagher
Leon Golub
Tony Gray
David Hammons
Ilka Hartmann
Barkley L. Hendricks
Lonnie Bradley Holley
Jeff Hull
It's About Time
Arthur Jafa
Paa Joe
Pirkle Jones
Kerry James Marshall
Daniel J. Martinez
Chris McNair
Zwelethu Mthethwa
Refa 1, Steve Jones and Toons
Paul Sequeira
Stephen Shames
Gail Shaw
Jeff Sonhouse
Carlos Vega
Roberto Visani
Andy Warhol
Carrie Mae Weems
and others

Creative Commons

http://creativecommons.org/

Creative Commons licenses provide a flexible range of protections and freedoms for authors, artists, and educators. We have built upon the "all rights reserved" concept of traditional copyright to offer a voluntary "some rights reserved" approach. We're a nonprofit organization. All of our tools are free.

About Us
"Some Rights Reserved": Building a Layer of Reasonable Copyright

Too often the debate over creative control tends to the extremes. At one pole is a vision of total control -- a world in which every last use of a work is regulated and in which "all rights reserved" (and then some) is the norm. At the other end is a vision of anarchy -- a world in which creators enjoy a wide range of freedom but are left vulnerable to exploitation. Balance, compromise, and moderation -- once the driving forces of a copyright system that valued innovation and protection equally -- have become endangered species.

Creative Commons is working to revive them. We use private rights to create public goods: creative works set free for certain uses. Like the free software and open-source movements, our ends are cooperative and community-minded, but our means are voluntary and libertarian. We work to offer creators a best-of-both-worlds way to protect their works while encouraging certain uses of them -- to declare "some rights reserved."

Luddites

http://en.wikipedia.org/wiki/Luddite

The Luddites were a social movement of English workers in the early 1800s who protested - often by destroying textile machines - against the changes produced by the Industrial Revolution that they felt threatened their jobs. The movement, which began in 1811, was named after a probably mythical leader, Ned Ludd. For a short time the movement was so strong that it clashed in battles with the British Army. Measures taken by the government included a mass trial at York in 1813 that resulted in many death penalties and transportations (deportment to a penal colony).

The English historical movement has to be seen in its context of the harsh economic climate due to the Napoleonic Wars; but since then, the term Luddite has been used to describe anyone opposed to technological progress and technological change. For the modern movement of opposition to technology, see neo-luddism.

E. P. Thompson's view of Luddism
In his work on English history, The Making of the English Working Class, E. P. Thompson presented an alternative view of Luddite history.

Luddites are often characterised, and indeed their name has to some become synonymous with, people opposed to all change--in particular technological change such as that which was sweeping through the weaving shops in the industrial heartland of England. They are often characterised as violent, thuggish, and disorganised.

E. P. Thompson advances many arguments against this view of the Luddites. He shows that the Luddites were not opposed to new technology, but rather to the abolition of set prices and therefore also to the introduction of what we would today call the free market.

Thompson argues that it was this newly-introduced economic system that the Luddites were protesting. For example, the Luddite song, "General Ludd's Triumph":

The guilty may fear, but no vengeance he aims
At the honest man's life or Estate
His wrath is entirely confined to wide frames
And to those that old prices abate

"Wide frames" were the weaving frames, and the old prices were those prices agreed by custom and practice. Thompson cites the many historical accounts of Luddite raids on workshops where some frames were smashed whilst others (whose owners were obeying the old economic practice and not trying to cut prices) were left untouched.

Secondly, Thompson counters the view that the Luddites were thuggish. There were remarkably few Luddite arrests and executions, and yet they operated highly effectively against the forces of the state. Thompson's explanation for this is that they were working with the consent of the local communities (or indeed were part of those communities).

Thirdly, Thompson argues that the Luddites were not disorganised. He notes that some of the largest Luddite activities involved a hundred men.

In short, Thompson feels that in caricaturing the Luddites as 'thugs' who just wanted to smash up new technology we are simply continuing the propaganda of the time. The reality, in Thompson's view, is that the Luddites were normal people who were protesting against changes of which they disapproved.

Evidence for this point of view has been further developed by Prof Kevin Binfield ('Writings of the Luddites' - see [1] ).-

April 06, 2006

Situationists Online Library

http://www.nothingness.org/SI/

Texts by and pertaining to the Situationist International have been entered into a database, and are available at the Text Library by clicking the link on the left. The library is fully searchable, and features more texts than ever before. Information on related articles are linked from each text, and biographical blurbs about the authors are just a click away.

Situationist images and related graphics are available from the Images link, which currently offers a selection of graphics, and a picturebook of posters from May 1968 in Paris.

Links to other Situationist and prositu websites are available through Links.

Big Box Reuse/Julia Christensen

http://www.bigboxreuse.com/


The Sugar Creek Charter Elementary School
Charlotte, NC
Renovated K-Mart

As superstores abandon buildings in order to move into bigger stores, what will become of the walls that they leave behind? It is within the answer to this question that we are seeing the resourcefulness and creativity of communities dealing with a situation that is happening all over the country: the empty big box. Through travel and the study of buildings, Julia is researching the way people build their towns, creating the context for their own lives.

Julia Christensen began investigating How Communities are Re-Using the Big Box in January of 2004. Since then, she has been traveling around the country in her car, visiting the sites and meeting the people who are making these transformations possible. She has been collecting a growing collection of photographs, interviews, stories, and documents relating to the renovations, and has been giving presentations in these communities about how other towns are dealing with this common situation. While exhibiting photographs and installing video and sound work generated from her travels, she is currently working on a book documenting her research. Julia continues to develop her traveling exhibit of artifacts exploring How Communities are Re-Using the Big Box.

The term "big box" refers to a large, free-standing building with one major room. This model was made very popular by the corporations that created stores with minimal storage space, the stock items simply coming in off the truck and on to the shelves. Because "big box" is a fairly new term, and since there are variations on the concept, there have been several occasions upon which Julia has arrived at a site and the "big box" was not quite what she thought it was going to be. Nevertheless, there has been something important to be learned at each of this locations. Her research has led her down many side streets, as she has learned about the choices people make in order to shape their town in order to accommodate their community.

Weather Underground Organization

aka The Weathermen, The Weather Underground
Weatherman, known colloquially as the Weathermen and later the Weather Underground Organization, was a U.S. Radical Left organization consisting of splintered-off members and leaders of the Students for a Democratic Society. The group referred to itself as a "revolutionary organization of communist women and men." Their stated purpose was to carry out a series of militant actions to achieve the revolutionary overthrow of the Government of the United States, and of capitalism as a whole. Weatherman collapsed shortly after the U.S. withdrawal from Vietnam in 1975, which saw the general demise of the New Left, of which Weatherman had been a part.

Fashion Theory: The Journal of Dress, Body, and Culture

http://www.fashiontheory.com

Counterfeit Chic

http://www.counterfeitchic.com/
by Susan Scaffidi

The history of fashion is a tale of innovation, but also of imitation. Trendsetters create and embrace new styles, but without copycats there would be no trends. This paradox lies at the heart of Counterfeit Chic.

Long before the digital revolution enabled the downloading of music and movies, the industrial revolution enabled the rapid copying of couture garments - and provoked similar public debates. U.S. intellectual property law, however, has traditionally been reluctant to engage the world of fashion. While large luxury retailers have begun to test the power of law enforcement personnel and the courts against blatant counterfeiters, these high profile handbag wars are only part of the story.

This site is about the culture of the copy within the multi-billion dollar global clothing and textile industry. It's about New York's Canal Street and Beijing's Silk Alley, but also about the cognitive and sociological reasons that make us want to buy or reject knock-offs in the first place. It's about political and legal developments, but also about why both technological efforts and the social norms of the fashion industry continue to be more effective than law in supporting creativity. It's about the centuries-long, arguably productive battle between designers and copyists, and also about why the modern world threatens to upset that balance. It's about the universal phenomenon of copying, and about the law's limited response.

Counterfeit Chic is a multivalent concept. Does it imply a false claim of elegance, assert a defiant redefinition of style, or make some other social/legal statement? Rather than begin with an answer, let's start a conversation.

Steal This Sweater

http://www.stealthissweater.com

1. Is this site advocating sweater theft?
No. For those of you born yesterday (or anytime during or after the Reagan years), StealThisSweater refers to Abbie Hoffman's Steal This Book, a survival guide and manifesto for those who fantasize about (or pursue) anarchy. The whole book has been stolen and posted online here, so be sure to take a look to see if you've got what it takes. Chris Buck suggested the website name after John Kerry lost the 2004 election and my previous site, KnittersForKerry.com became yesterday's news. Thank you, Chris. Abbie Hoffman was a radical with a sense of humor and a hatred of The Man. At StealThisSweater, we are not fond of The Man either.


"What's all this talk of dying for revolution? Live for it."
Not sure exactly who said it first, but it's in a poem dedicated to Diana Oughton, the Weatherwoman who died in a bomb blast in NYC in 1970. The bottom edge of the sweater says "Bring the War home" on the front and "All power to the people" on the back.

Packard Jennings

http://centennialsociety.com/durham.html

"A Day at the Mall"

"Bible Sticker"

Craftivism

http://www.craftivism.com
Betsy Greer
*wee, yet mighty