FIVE EYES AND THE REST

Five Eyes and the Rest Gouache on paper 56 x 76 cm

The Five Eyes is an intelligence alliance of five countries - Australia, USA, UK, Canada and New Zealand. Its formation stems from a post World War 2 "multilateral agreement for co-operation in signals intelligence (SIGINT), known as the UKUSA Agreement" signed in March 1946. Initially the agreement included the UK and the USA. Canada joined in 1948, and Australia and New Zealand in 1956. You can read more about its history HERE *

I am interested in the use of the word 'eyes', which in the post-war period meant that intelligence gathered by the five countries was for their 'eyes' only. One can assume that this meant human eyes. 

21St Century 'Vision'
In the 21st century, an age of accelerating developments in digital and cyber technology, networking and inter-connectivity, 'eyes' and 'vision' have taken on different kinds of meaning. Both have been assigned to the machine eg: the unmanned aerial vehicle or airborne militarised drone, satellites, machine learning/vision. The unmanned drone, for example, is often referred to as an 'eye in the sky'. Imaging technology used for surveillance and targeting is referred to as 'machine vision', 'drone vision'. Additionally, as autonomous systems, employing artificial intelligence and machine learning are increasingly employed, scrutiny of data and images for anomalies and patterns is no longer entirely the domain of the human being. That self learning systems can potentially also make 'decisions' based on algorithmic scrutiny begs the questions, where does the human being fit as a critical observer? 

The 21st century concept of vision, is increasingly one of detection, scoping and targeting. This is a concern, because human vision is not only seeing with eyeball and pupil, it is also daydreaming, using imagination, dreaming, and visionary thinking. Plus, we can detect, scope and target too! Jean Baudrillard's observation that "the real vanishes into the concept" helps us think about the implications of endowing machines with capacities of 'vision'. (1) Are we orchestrating our own disappearance? Are we being expelled, as Baudrillard implies, from an artificial world? 

Five Eyes and the Rest
In Five Eyes and the Rest I have used a cosmic perspective. From this perspective can you see any anomalies or patterns that might raise questions about increasingly persistent and pervasive machinic surveillance? Who or what is looking at who or what? 

With your eyes what do you see? I see 'eyes' everywhere! 

Cheers,
Kathryn

* Information about Canada's plans can be found HERE, New Zealand's HERE
Information about the UK's Reaper Drones can be found HERE
I have previously written about Australia's use of drones and future plans Pay Attention: The Drones Are Here
And, the USA's development and use of surveillance and weaponised drones is common knowledge

1. Jean Baudrillard, Why Hasn't Everything Already Disappeared?, trans, Chris Turner ( Seagull Books, London, New York, Calcutta, 2016), 12.

* 

DATA HEAVEN

Data Heaven? Oil on linen 100 x 120 cm 2017

I painted Data Heaven last year. I present it to you as a landscape, cosmicscape, dronescape, datascape, futurescape, codescape!

At the centre of the square, in the centre of the cloud, binary code ‘instructs’ the word DATA. The fifth line of code, ‘instructing’ the letter D, indicates algorithmic continuity. The cloud looks like an eye, with DATA as its ‘pupil’. I am playing with ideas relating to THE CLOUD, big data and humanity’s increasing reliance on digital and cyber technologies. That we can exist virtually across multiple technological platforms/systems while alive is one thing, but that this virtual existence can continue after mortal death, is indicative of  -  DATA Heaven, or perhaps - DATA Hell?

The white cloud-eye is surrounded by fiery ‘lashes’ that lick the cosmos. Is the fire destructive or a symbol of renewal? The binary code is painted white, like the cloud, to reveal subterfuge – DATA is used for scoping, surveillance and targeting purposes. The code is positioned at the centre of red cross-hairs to indicate the replacement of human sight/vision by algorithms, scoping for targets – to sell something to – or to kill. Here, the cloud becomes a visual metaphor for the airborne weaponised drone, its persistent surveillance and increasingly autonomous capabilities.

VISION?

I am particularly interested in making a critical comment about the use of 'vision' as a word to describe machine imaging technology. In a few of my recent paintings I play with images that look like an eye, but on closer inspection are not really eyes. To ascribe a machine, no matter how advanced, with powers of vision, reduces human capacities of vision - in it broadest sense ie: not only seeing with eye-ball and pupil, but also with a mind's eye/imagination, in dreams, and visionary thinking. A scoping machine, such as a drone, cannot imagine, dream or generate visionary thoughts/thinking. Let's not give away human capacities that may actually be useful for us in the future! Relinquishing them too soon, and normalising things like machine vision - for me - poses an existential risk [can you 'see' this too?].

Data Heaven? poses questions about the future of humanity – its mortal and digital existence.

BACK IN THE STUDIO

After winding down from my wonderful trip overseas, I have returned to the studio. The photo shows me preparing the early stages of a painting. And, there's Data Heaven? in the back of the studio. Another new painting sits on the desk to the right. 

Please read about my trip, speaking engagements, conferences etc in my last post: Please click on the heading below.

BRISBANE - SAN FRANCISCO - NY - LONDON - CAMBRIDGE - HK

Kathryn Brimblecombe-Fox  Studio 

Cheers,

Kathryn

BRISBANE - SAN FRANCISCO - NY - LONDON - CAMBRIDGE - HK

Presenting my talk at the international Studies Association annual conference in San Francisco. 

I have just returned from my month long trip from Brisbane, to San Francisco, to new York, to Cambridge and London and home via Hong Kong. I did not post while I was away - the first time I have missed even one week, let alone four, in nearly twelve years!

ISA

Happy to report that my presentation at the International Studies Association annual conference, San Francisco, was received very well. I was asked to speak about my paintings - my dronescapes - how they resist the insidious [and no so insidious] infiltration of militaristion into everyday life, imagination and the future.  

This conference was a massive one. Every session I went to was stimulating. An array of different topics, approaches, and people from around the world. 

GOLDSMITHS

Happy to also report that my presentation at Goldsmiths, University of London, was also well received. Dr. Claire Reddleman and Dr. Elke Schwartz also spoke. I was asked to speak about my work in reference to issues relating to new landscapes/topographies and drone vision. 

CENTRE FOR THE STUDY OF EXISTENTIAL RISK, UNIVERSITY OF CAMBRIDGE

A highlight of the trip was attending the Centre for the Study of Existential Risk, University of Cambridge, annual conference. This was a small conference and I was delighted to be invited to attend. It was two days of fascinating presentations and participatory workshops. The focus was on thinking about strategies to help inform the broader community, policy makers, governments and corporations about existential risk ie: often considered low probability, but high impact events that could cause human species demise or civilisation collapse. Regular readers will know why I was so pleased to attend this conference - I have been interested in existential risk posed by emerging technologies for many years. Ideas associated with existential risk have informed both my creative practice and academic research.

                            

Presenting my talk at the international Studies Association annual conference in San Francisco. 

Presenting at Goldsmiths, University of London

TALKS

In both my talks I questioned the term vision and its application to a machine. I asked, are we relinquishing human vision before we understand the ramifications of doing so? I couched this in reference to vision as an expansive human capacity ie: not only seeing with eye-ball and pupil, but also with our mind's eye/imagination, in dreams and visionary thinking. I argued that a drone cannot dream nor imagine, rather a drone's imaging technology gives it scoping capabilities, not vision capabilities. Are we exposing ourselves to risk by ascribing human capabilities to drones [and other machines, no matter how advanced they are]? 

My way of countering this reduction of vision is to invite people to 'fly' around the drones, or indications of their presence, in my paintings. The cosmic perspective allows for some considerable soaring! Thus, human vision, in all its capacities, is turned back upon the drones........a radical surveillance. 

The poster advertising the talk at Goldsmiths, University of London

  

 View out the window at a workshop for the Centre for the Study of Existential Risk, University of Cambridge. Jesus College courtyard.

The Centre for the Study of Existential Risk conference dinner at Jesus College, Cambridge. 

FORENSIC ARCHITECTURE

There were many high points during the trip. One was visiting Forensic Architecture's exhibition Counter Investigations at the Institute of Contemporary Art [ICA], London. I used some of Forensic Architecture's ideas in my M. Phil thesis, particularly in my visual analysis of, Australian artist, Jon Cattapan's paintings. Their Lexicon was very useful for a variety of reasons. So, I was very keen to see Forensic Archicture's work at the ICA. I spent hours at the exhibition. A few days after seeing the show, Forensic Architecture was nominated for the Turner Prize. 

Forensic Architecture is a research group at Goldsmiths, University of London. They investigate sites of atrocity, war crimes, human rights violations and more. They gather a plethora of evidentiary material, which they then piece together. This evidence is presented in layered visual formats, often further overlaid with audio material. Comparative analyses of sounds, photographs, shapes in imagery, timelines, satellite imagery, trajectories of bullets, and more, are provided by computer generated tools presented as visual graphics that provide another visual layer. The outcome is a reconstruction of a site or an event - relived, but also explained. Forensic Architecture's work is complex and compelling, visually/aesthetically, and as evidence. This evidence is used in legal and human rights arenas. Additionally the group exhibits their work in art exhibitions. The bridging between seemingly different worlds is extraordinary. For me, their Lexicon  provides clues to this success. It demonstrates creative thought and the depth of their research - and - thus, the precision of their evidence. As art, it is meaningful.

 Me at Forensic Architecture's exhibition Counter Investigations at the ICA, London.

I will write more about the trip in my next post: 

• The ballet Manon at the Royal Opera House, London.
• Visiting Bletchley, the secret WW 2 code breaking site half an hour out of London. 
• Visiting the Intrepid Air and Space Museum, New York.
• The Imperial War Museum, London, and the special exhibition Art in the Age of Terror
• Revisiting the National Gallery, London
• Revisiting the marvelous Frick Museum, New York
• And More!

Cheers,
Kathryn

COSMIC DREAMING: SIMULATION? (EXO-PLANETS)

Cosmic Dreaming: Simulation? Oil on linen 31 x 56 cm 2018

Continuing with my 'pale blue dot' interest, I introduce you to Cosmic Dreaming: Simulation? (Exo-Planets). 

EXO-PLANETS

I was thinking about recent discoveries of potentially habitable exo-planets [example NASA site] orbiting distant stars. And, I was thinking about the unlikelihood of humans retreating to alternative planets outside our solar system in the near future, let alone the not-so-near future. That there might be life [of some kind] on these distant exo-planets is certainly intriguing though. 

But, with regards to humans travelling in space, getting to Mars is difficult enough! Plus, Mars will be obliterated, along with the rest of our solar system, when the sun reaches its final demise in around 4 billion years. So, staying within the solar system is doomed! Getting to Mars, though, is a stepping stone for all sorts of reasons. 

I was also thinking about the urgent need to look after the planet we do call home - Earth. We need to look after the planet, its non-human inhabitants and ourselves in order to sustain life. No good having escape plans, to set up home on an exo-planet, if we perish before we develop technology that will allow us to retreat elsewhere. But, this may be our fate...

SUSTAINABILITY - DREAMS - SIMULATION

While I was thinking about planetary sustainability, I was also thinking about simulation and dreams. 

So, is my painting an image from a dream, where alternative habitable planets, other 'pale blue dots', offer tantalising refuge for a beleaguered human species? Or, is the painting an image of a simulation, perhaps a game...a way to dupe us into thinking there are alternatives? The painting is not a game though.

Regular readers know of my interest in contemporary militarised technology, ubiquitous surveillance and increasingly autonomous weapon systems. While Cosmic Dreaming: Simulation? (Exo-Planets) does not refer directly to weapons or surveillance, it is linked to my dronescapes. It is linked by the cosmic perspective I take in many of my paintings. This perspective allows the viewer to fly. For example, in Cosmic Dreaming: Simulation? (Exo-Planets), are you above, below or beside the three pale blue dots? Are you on another planet, or in a spacecraft? Or, are you a spirit, a ghost from the future, maybe 10 billion years time - long after our solar system existed? Or perhaps you are a downloaded mind transmitted, ad infinitum, along an energy wave of some kind? Are you caught in some kind of simulation? 

VISION

As a painting, Cosmic Dreaming: Simulation?(Exo-Planets)offers many alternative interpretations. But, for me,  the power of human 'vision', in all its permutations - sight, insight, imagination and dreams - is an overarching consideration. This painting is, therefore, a resistance to the insidious infiltration of technological scoping, disguised as 'vision'. 

HERE ARE A COUPLE OF OTHER 'PALE BLUE DOT' PAINTINGS

       

Look again at that dot. (Sagan) Oil on linen 23 x 29.5 cm 2017

                                              Showing Them Our Home Oil on linen 30 x 56 cm 2017

Cheers,

Kathryn