This is a 1 hour general-audience introduction to Large Language Models: the core technical component behind systems like ChatGPT, Claude, and Bard. What they are, where they are headed, comparisons and analogies to present-day operating systems, and some of the security-related challenges of this new computing paradigm. As of November 2023 (this field moves fast!).

Context: This video is based on the slides of a talk I gave recently at the AI Security Summit. The talk was not recorded but a lot of people came to me after and told me they liked it. Seeing as I had already put in one long weekend of work to make the slides, I decided to just tune them a bit, record this round 2 of the talk and upload it here on YouTube. Pardon the random background, that's my hotel room during the thanksgiving break.

• Slides as PDF: https://drive.google.com/file/d/1pxx_ZI7O-Nwl7ZLNk5hI3WzAsTLwvNU7/view?usp=share_link (42MB)
• Slides. as Keynote: https://drive.google.com/file/d/1FPUpFMiCkMRKPFjhi9MAhby68MHVqe8u/view?usp=share_link (140MB)

Few things I wish I said (I'll add items here as they come up): - The dreams and hallucinations do not get fixed with finetuning. Finetuning just "directs" the dreams into "helpful assistant dreams". Always be careful with what LLMs tell you, especially if they are telling you something from memory alone. That said, similar to a human, if the LLM used browsing or retrieval and the answer made its way into the "working memory" of its context window, you can trust the LLM a bit more to process that information into the final answer. But TLDR right now, do not trust what LLMs say or do. For example, in the tools section, I'd always recommend double-checking the math/code the LLM did. - How does the LLM use a tool like the browser? It emits special words, e.g. |BROWSER|. When the code "above" that is inferencing the LLM detects these words it captures the output that follows, sends it off to a tool, comes back with the result and continues the generation. How does the LLM know to emit these special words? Finetuning datasets teach it how and when to browse, by example. And/or the instructions for tool use can also be automatically placed in the context window (in the “system message”). - You might also enjoy my 2015 blog post "Unreasonable Effectiveness of Recurrent Neural Networks". The way we obtain base models today is pretty much identical on a high level, except the RNN is swapped for a Transformer. http://karpathy.github.io/2015/05/21/rnn-effectiveness/ - What is in the run.c file? A bit more full-featured 1000-line version hre: https://github.com/karpathy/llama2.c/blob/master/run.c

Chapters: Part 1: LLMs 00:00:00 Intro: Large Language Model (LLM) talk 00:00:20 LLM Inference 00:04:17 LLM Training 00:08:58 LLM dreams 00:11:22 How do they work? 00:14:14 Finetuning into an Assistant 00:17:52 Summary so far 00:21:05 Appendix: Comparisons, Labeling docs, RLHF, Synthetic data, Leaderboard Part 2: Future of LLMs 00:25:43 LLM Scaling Laws 00:27:43 Tool Use (Browser, Calculator, Interpreter, DALL-E) 00:33:32 Multimodality (Vision, Audio) 00:35:00 Thinking, System 1/2 00:38:02 Self-improvement, LLM AlphaGo 00:40:45 LLM Customization, GPTs store 00:42:15 LLM OS Part 3: LLM Security 00:45:43 LLM Security Intro 00:46:14 Jailbreaks 00:51:30 Prompt Injection 00:56:23 Data poisoning 00:58:37 LLM Security conclusions End 00:59:23 Outro

IN CAPITAL IS DEAD, McKenzie Wark asks: What if we’re not in capitalism anymore but something worse? The question is provocative, sacrilegious, unsettling as it forces anti-capitalists to confront an unacknowledged attachment to capitalism.

In recent years, the ethos of the tech industry has transmogrified—from the market-besotted optimism of business mogul Bill Gates to the digital feudalism represented by California Bay Area neoreactionaries and cyber monarchists. If, as philosopher Walter Benjamin has argued, “every rise of Fascism bears witness to a failed revolution,” one could say that the rise of crypto-fascist tendencies within the tech industry bears witness to the failures of the “digital revolution,” whose promises never came to pass. From this perspective, the mix of cyber- obscurantism, far-right esoterica, and paranoid ideation so popular online can be read as a morbid symptom of this ongoing transformation.

Propositions #4: Unpacking Aesthetics and the Far Right is part of BAK’s long-term artistic research series and convening platform Propositions for Non-Fascist Living (2017–2020) prompted by the surfacing of contemporary fascisms. This is the fourth performative conference within the series and brings together artists, theorists, and writers to seek ways of unpacking the current relations of art and fascist-curious aesthetics.

http://www.egs.edu/ Catherine Malabou, philosopher and writer, A philosophical approach to the proposed geological epoch called as the Anthropocene.

Public open lecture for the students and faculty of the European Graduate School EGS Media and Communication Studies department program Saas-Fee Switzerland Europe. 2015.

Catherine Malabou, Ph.D., is an important contemporary French philosopher. Catherine Malabou was born in 1959 and is a former student at the École normal supérieure (ENS) of Fontenay-Saint-Cloud in Lyon, France. ENS schools are regarded as some of the most prestigious French schools for humanities studies. Before that Catherine Malabou was educated in Paris at the renown Sorbonne University.

Catherine Malabou passed her agrégation in philosophy (French University high-level competitive examination for the recruitment of professors and often the gateway to Ph.D. study). Catherine Malabou wrote her dissertation on Georg Wilhelm Friedrich Hegel (1770-1831) under the direction of the critical French philosopher Jacques Derrida (1930-2004), completing it on December 15 1994. The thesis was published in 1996 under the title “L’Avenir de Hegel, plasticité, temporalité, dialectique” and was prefaced by Derrida with a text entitled “Le temps des adieux: Heidegger (lu par) Hegel (lu par) Malabou” (“A time for farewells: Heidegger (read by) Hegel (read by) Malabou”). Catherine Malabou’s doctoral dissertation was eventually published in both Japanese and English (2005, “The Future of Hegel: Plasticity, Temporality and Dialectic”).

More recently, Catherine Malabou published with the eminent American critical thinker Judith Butler (1956-) a book in French entitled “Sois mon corps” (2010), not yet published in English but which can translate as “Be My Body”. The two thinkers give us a contemporary reading of domination and servitude in Hegel. They ask about who has not ever dreamed or feared, desired or dreaded to delegate one’s body? That is to say, asking or ordering someone else: be my body, carry it in my place, feed it, cultivate it, shape it. According to Judith Butler and Catherine Malabou such request and order are those which the master gives the slave in Hegel’s “The Phenomenology of Spirit” (1807). In this way, the dialectic of domination and servitude must be understood as a scene of delegation and denial of the body. But they also want to ask two opposite and yet inextricable questions: do we ever manage to completely detach oneself from one’s body? And on the contrary, are we ever completely attached to it? From Hegel to Michel Foucault (1926-1984), Jacques Derrida and Alexandre Kojève (1902-1968), these issues are tackled in all their modalities.

http://www.egs.edu Benjamin H. Bratton, born 1968, is an American theorist, sociologist and professor of visual arts, contemporary social and political theory, philosophy, and design.

The Post-Anthropocene: The Turing-incomplete Orchid Mantis Evolves Machine Vision. Public open lecture for the students and faculty of the European Graduate School EGS Media and Communication Studies department program Saas-Fee Switzerland Europe. 2015.

Benjamin H. Bratton, (b. 1968), is an American theorist, sociologist, and professor of visual arts, contemporary social and political theory, philosophy, and design. His research deals with computational media and infrastructure, design research management & methodologies, classical and contemporary sociological theory, architecture and urban design issues, and the politics of synthetic ecologies and biologies.

Bratton completed his doctoral studies in the sociology of technology at the University of California, Santa Barbara​, and was the Director of the Advanced Strategies Group at Yahoo! before expanding his cross-disciplinary research and practice in academia. He taught in the Department of Design/Media Art at UCLA from 2003-2008, and at the SCI Arc​ (Southern California Institute of Architecture)​ for a decade, and continues to teach as a member of the Visiting Faculty. While at SCI Arc, Benjamin Bratton and Hernan Diaz-Alonso co-founded the XLAB courses, which placed students in laboratory settings where they could work directly and comprehensively in robotics, scripting, biogenetics, genetic codification, and cellular systems​. Currently, in addition to his professorship at EGS, Bratton is an associate professor of Visual Arts at the University of California, San Dieg​o, where he also directs the Center for Design and Geopolitics, partnering with the California Institute of Telecommunications and Information Technology​.

In addition to his formal positions, Benjamin H. Bratton is a regular visiting lecturer at numerous universities and institutions including: Columbia University, Yale University, Pratt Institute, Bartlett School of Architecture, University of Pennsylvania, University of Southern California, University of California, Art Center College of Design, Parsons The New School for Design, University of Michigan, Brown University, The University of Applied Arts in Vienna, Bauhaus- University, Moscow State University, Moscow Institute for Higher Economics, and the Architectural Association School of Architecture in London.

Bratton's current projects focus on the political geography of cloud computing, massively- granular universal addressing systems, and alternate models of ecological governance. In his most recent book, The Stack: On Software and Sovereignty (MIT Press, 2015), Bratton asks the question, "What has planetary-scale computation done to our geopolitical realities?​" and in response, offers the proposition "that smart grids, cloud computing, mobile software and smart cities, universal addressing systems, ubiquitous computing, and other types of apparently unrelated planetary-scale computation can be viewed as forming a coherent whole—an accidental megastructure called The Stack that is both a computational apparatus and a new geopolitical architecture.​"

Other more recent texts include the following: Some Trace Effects of the Post-Anthropocene: On Accelerationist Geopolitical Aesthetics, On Apps and Elementary Forms of Interfacial Life: Object, Image, Superimposition, Deep Address, What We Do is Secrete: On Virilio, Planetarity and Data Visualization, Geoscapes & the Google Caliphate: On Mumbai Attacks, Root the Earth: On Peak Oil Apohenia and Suspicious Images/ Latent Interfaces (with Natalie Jeremijenko), iPhone City, Logistics of Habitable Circulation (introduction to the 2008 edition of Paul Virilio’s Speed and Politics). As well, recent online lectures include: 2 or 3 Things I Know About The Stack, at Bartlett School of Architecture, University of London, and University of Southampton;Cloud Feudalism at Proto/E/Co/Logics 002, Rovinj, Croatia; Nanoskin at Parsons School of Design; On the Nomos of the Cloud at Berlage Institute, Rotterdam, École Normale- Superiore, Paris, and MOCA, Los Angeles; Accidental Geopolitics at The Guardian Summit, New York; Ambivalence and/or Utopia at University of Michigan and UC Irvine, and Surviving the Interface at Parsons School of Design.

Daniel Rourke: Your ongoing project, Dark Matter, was something of a revelation for me: a collection of objects forbidden or “unwelcome” in Iran, brought together through digital modelling, meshing, and 3D printing. The results are playful and surrealistic, with the same capacity to waken the subconscious as any Dali Lobster-Telephone or Hair-Lamp. For me Dark Matter resonates as subversive not just because the dog-dildo is an affront to conservative sexual values, or because the Barbie-VHS blurs cultural boundaries (a feature of a lot of your work). Rather I was taken by how the objects spoke to the here and now; that perhaps there is something about the collapse of all commodities, forms, and ideas into the digital that promotes blurred perspectives and subversive practices. I wondered whether you saw your work as particular to the digital tools and materials you choose, or are you “just” making use of things that happen to be available to you? Morehshin Allahyari: I was particularly interested in choosing the most relevant tools and materials for creating a new body of work about forbidden/unwelcome objects. I found the idea of “3D printing/re-creating the forbidden” a very compelling prospect, which raised paradoxical issues of limitations and boundaries—social, cultural, and political. I was also very interested in the technology of 3D printing as this “poetic technology” for resistance, for reclaiming all the things that were taken from me during my life in Iran or are currently being taken away from my sister, and mother, and my friends. There is something very special about things that you can’t have access to when they are forced by law out of your life. When there are many of those objects/things, and they are the most ordinary things (dog, sex toys, neck-tie, Barbie, satellite-dish, Bart Simpson, ham/pig, alcohol, etc.), then there is something meaningful and symbolic about using a technology like 3D printing to re-create them. The combination of the objects, I think, adds a sense of humor to the work that is very similar to the ridiculousness of having these objects banned when you look at the whole picture.

While developing the project, I really fell in love with thinking about 3D printing as a “documentation tool”… you know, like when you go to historical museums, and they have this whole collection of objects or things that used to be this and that, or had whatever functionality 500 years ago. I thought, what if this could be the archive, the documentation of the life after the 1979 revolution in Iran, the life I lived, and how will it feel to look back at this collection in 20 or 30 years? Also, through combining and re-creating these objects and putting them inside a virtual word, I can re-contextualize and invite the audience to enter the historical dimension of the work… So yeah… I am directly addressing the medium of 3D printing here. Plus, there is a broad conversation of censorship built into the technology of 3D printing as a whole, which actually expands the project to other countries including the United States (I am thinking about the 3D printed, potentially functional gun as one of the first examples).

Morehshin Allahyari, virtual landscape for #dog #dildo #satellite-dish from the series “Dark Matter.” Work in progress. DR: You have just collaborated on a text that shifts between registers, performing the splits, breaks and tears it indicates in the life and work of “self-exiled” people. I was struck by an image you use of “Time, memory, space, and bodies collapsing, losing composition.” [1] These ideas feature heavily in your work, where one’s heritage or identity can coalesce and mutate as readily as a 3D print. MA: I am struck by the idea of representation in digital art. I think about the reconstruction of memory in virtual worlds, the rebuilding of non-existent objects from the virtual world into real life… how we understand our world through representation, the dystopian, the utopian, and everything in-between. Since I have moved to the U.S. (2007), I have become more and more fascinated by the in-depth thoughts on exile and diaspora within Edward Said’s text “Reflections on Exile,” Mahmoud Darwish’s poems, and Lorna Dee Cervantes’ Palastine poem, among others. But in my own work, I wanted to simultaneously be aware of the dangers of the romanticization of exile and self-exile – as well as the whole nostalgic remembrance of the “homeland” that is inaccessible; I wanted to look for different ways that I can use digital technology to talk about my own understanding of self-exile. So I worked on a 3D animation video, a plexiglas installation, a 16mm film, a series of Facebook post-cards installation, and a creative research/writing project in the course of one year. It’s interesting to step-back and think about each of these works now (after two years); to think about geographical determinism and the collective history of the young self-exiled Iranians; but also to realize that, through time, my relationship has changed with “home” and that it will continue to change. Doing this interview and thinking about my body of work “The Romantic Self-Exiles”, I remembered that I haven’t thought about my house in Tehran, Yousefabad and Valiasr streets, and other common places that I used to go, for a very long time. I used to do this thing almost every night, that I would close my eyes and try to imagine and remember every details of my room in Tehran… or the exact directions/streets that I would have to take to get to whatever place. I couldn’t help but think that’s the only way to survive the diasporic life… could this be one dimension of the mutation of identity? Is this where I forever will feel distanced, unrelated, and disconnected from home? Or have I just entered a new stage of life in diaspora? Gray areas might be the only places worth existing…delving into identity as a transparent rather than defined; homeland as belonging to nowhere and everywhere; virtual space as both real and imagined; aesthetics as perfection vs imperfection.

Morehshin Allahyari. Excerpt from The Romantic Self-Exiles I (2012). DR: The mutations you speak of also come through in the way you approached the writing of that text, stretching the critical territory you cover by fusing the essay with a voice more readily associated with fiction. I also note elements of fabulation in your gallery and video works. Both The Romantic Self-Exiles-I and Over There Is Over Here toy with reality and imagination in a broken essayistic language. Do you understand your practice as writerly? MA: My discovery of the art world has been through creative writing (since the age of 12 when I started to take part in a private creative writing class in Iran that would meet weekly, which continued until I was 18)… so writing is very dear to my heart and it’s a very important part of my work. I’m interested in bridging digital technology, writing, and visual arts in an essayistic and poetic language. I think about Milan Kundera and Chris Marker as the best examples of this style of writing. As I have worked more and more with a software like Maya, I have learned that there is something very beautiful about building and creating landscapes and environments. Especially in the Romantic Self Exiles animation, it felt like creating an imagined home… a space and environment where I could perhaps belong… but another aspect of it was talking about this experience and process of modeling, animating, texturing, etc through a self-reflexive narration. In Over There Is Over Here, there is also a landscape, but the narration is more complex with ambiguity… going back and forth between a third-person narrator and myself as the narrator and an outsider… In both of these works, though, my writing process was connected to the process of designing these virtual landscapes. DR: In another text produced with collaborator Jennifer Way you discuss the representation of female identity in Iran. Could you tell us some more about how this relates to art and romanticization in particular? MA: I was really interested in doing research on women, technology, and art in Iran, because there is almost no academic research and discourse about this topic (although the art and technology scene is growing very rapidly in Iran). So I have kept an eye on the art and technology festivals, exhibitions, workshops, and lectures that have been happening in Iran in the last 4-5 years and been amazed by the lack of women and the dominance of the hyper-masculine culture. In collaboration with Jennifer Way, we interviewed Iranian artists (mostly women) who in one way or another are and have been involved in the new media art scene in Iran and asked for their comments, observations, and concerns regarding new media art or art and technology considering the recent rise of such art practices in Iran. This is especially and personally very important to me because Iranian women have been the dominant university demographic in Iran for the last decade or so. On the other hand, in my own work, I have constantly thought about and re-defined both my Middle-Eastern female identity, as well as my identity as a woman in the field of art and technology. On the one hand, I have gradually become aware of and resisted the female identity defined by—for instance—the work of artists like Shirin Neshat. This is something that comes up in my daily discussions with other female colleagues from the Middle-East: how we feel distanced from the presentation and re-presentation of women in the work of older generation artists (in this case from Iran)… That in fact, we are eager to re-define these clichés and—in most cases—one-dimensional interpretations and exoticized or stereotypical images of women of the Middle-East; thinking about ourselves more as “Glocal.”

Morehshin Allahyari,#barbie #vhs from the series “Dark Matter.” Work in progress. The other side of this is my relationship with technology and the fact that I am interested in a poetic and feminine voice in technological aesthetics and in ways to challenge and push whatever medium that I’m using. In the last couple of years, I have been inspired by the works of other female artists and activists such as Claudia Hart, Brenna Murphy, Jenny Vogel, Tania Bruguera, and Guerrilla Girls. I feel like I have the amazing opportunity of combining and experimenting with all these ideas… to bring together new media, politics, art, social science, and creative writing… and examine a multi-layered understanding of female identity while dealing with the complexity of being in between. DR: To bring it back to my first question then, do you think that there is something specific in the ways and means of digital technology that enables the representation of interstitial spaces, politics and identities? MA: In both the writing/narrative and the aesthetics of my work, I am interested in the idea of imperfection and the allowance of error… which makes me think about the fact that bleeding/leading edge technology has built-in flaws and imperfections in them… which also works perfectly with the broader discourse of corruption of politics, collapse of identities, the loss of space through time, etc. In the case of 3D printing technology, I like to think there is something very special about it that doesn’t exist in other software/tools/material. Maybe this is a very “Eastern/Dervish” kind of way of thinking about digital technology: to think about means and ways and reasons and effects as points of departure and entrance. You know, like trying to stay away from the fetishism and consumerism that falls into the use of digital technology… so, yes! DR: Finally, what are you working on at the moment? MA: Well, as of right now, I am creating a series of virtual spaces for my 3D printed objects, and also combining more unwelcome/forbidden objects to print in the next coming months. After this, I want to broaden the conversation to other countries in an upcoming project, creating a 3D forbidden orgy (lol) installation, looking for new ways to blur these cultural boundaries and relationships. In general, in these new series of work I am taking a break from heavy, serious work which is mostly what I’ve been working on and creating for the last 6 years. I feel like I am exhausted from that, and I want to actually take a step back and be able to make fun of all these very serious topics. If you think about Dark Matter and these forbidden objects that we grew up with in Iran, they are actually simultaneously fucked up and ridiculous. I think as I’m growing as an artist, I am getting more and more interested about exploring humor in serious circumstances. I don’t want to feel bad for myself and the life I lived in Iran. I don’t want other people’s sympathy. That’s why I want to be able to sometimes make fun of it more than anything else. Age: 28 Location: Dallas, TX. How/when did you begin working creatively with technology? Since the very first months that I moved from Iran to Denver to study for my MA in Digital Media Studies. I remember I only knew a little bit of photoshop, and one of the first classes that I had to take was coding and CSS. It was a big jump. But after two years, I started to work constantly with different software and digital tools… At the same time, my partner (andrew blanton) has played an important role in my approach to technology, both conceptually and how I can teach myself new software and skill-sets as an artist. Where did you go to school? What did you study? During my undergrad I was in Iran and I studied Social Science and Media Studies at Tehran University. I studied Digital Media Studies for my MA at the University of Denver, where I was invited by Lynn Schofield Clark to do research with her at the Estlow Center on projects that concerned art, culture, and media (this was my initial reason to move from Iran to the United States). Then I was invited by David Stout of Noisefold to go to University of North Texas and work with him in Developing the Initiative for Advanced Research in Technology and the Arts (iARTA) research cluster while studying in New Media Art for my M.F.A. What do you do for a living or what occupations have you held previously? Currently I am a visiting assistant professor at University of Texas in Dallas at the Art and Technology department. Before this I worked mostly doing adjunct positions. I lived in Chicago before Texas, and Denver before moving from Iran in 2007. When I lived in Tehran, I taught English and freelanced for different art and culture magazines and newspapers. What does your desktop or workspace look like? I don’t have a studio space outside of our house right now. But I do have a room as my studio to work at, which I kind of like better than studios that I’ve had in the last 4 years. I mostly work on my Hackintosh for my animation projects. I make a lot of notes, both in Farsi and English depending on my headspace when I’m writing and thinking… I’m obsessed with lighting of the space that I work at. Some days both my workspace and desktop look more organized than the others, which might be a good measurement of how productive I’m being. : )

  References [1] Allahyari, Morehshin, and Jennifer Way. “Romantic Self-Exiles.” Anglistica no. Issue 17 1 (2013). https://www.anglistica.unior.it/content/romantic-self-exiles.

The latest in a series of interviews with artists who have developed a significant body of work engaged (in its process, or in the issues it raises) with technology. See the full list of Artist Profiles here.

Morehshin Allahyari, #dog #dildo #satellite-dish from the series "Dark Matter." Work in progress. Daniel Rourke: Your ongoing project, Dark Matter, was something of a revelation for me: a collection of objects forbidden or "unwelcome" in Iran, brought together through digital modelling, meshing, and 3D printing. The results are playful and surrealistic, with the same capacity to waken the subconscious as any Dali Lobster-Telephone or Hair-Lamp. For me Dark Matter resonates as subversive not just because the dog-dildo is an affront to conservative sexual values, or because the Barbie-VHS blurs cultural boundaries (a feature of a lot of your work). Rather I was taken by how the objects spoke to the here and now; that perhaps there is something about the collapse of all commodities, forms, and ideas into the digital that promotes blurred perspectives and subversive practices. I wondered whether you saw your work as particular to the digital tools and materials you choose, or are you "just" making use of things that happen to be available to you? Morehshin Allahyari: I was particularly interested in choosing the most relevant tools and materials for creating a new body of work about forbidden/unwelcome objects. I found the idea of "3D printing/re-creating the forbidden" a very compelling prospect, which raised paradoxical issues of limitations and boundaries—social, cultural, and political. I was also very interested in the technology of 3D printing as this "poetic technology" for resistance, for reclaiming all the things that were taken from me during my life in Iran or are currently being taken away from my sister, and mother, and my friends. There is something very special about things that you can't have access to when they are forced by law out of your life. When there are many of those objects/things, and they are the most ordinary things (dog, sex toys, neck-tie, Barbie, satellite-dish, Bart Simpson, ham/pig, alcohol, etc.), then there is something meaningful and symbolic about using a technology like 3D printing to re-create them. The combination of the objects, I think, adds a sense of humor to the work that is very similar to the ridiculousness of having these objects banned when you look at the whole picture. While developing the project, I really fell in love with thinking about 3D printing as a "documentation tool"... you know, like when you go to historical museums, and they have this whole collection of objects or things that used to be this and that, or had whatever functionality 500 years ago. I thought, what if this could be the archive, the documentation of the life after the 1979 revolution in Iran, the life I lived, and how will it feel to look back at this collection in 20 or 30 years? Also, through combining and re-creating these objects and putting them inside a virtual word, I can re-contextualize and invite the audience to enter the historical dimension of the work... So yeah... I am directly addressing the medium of 3D printing here. Plus, there is a broad conversation of censorship built into the technology of 3D printing as a whole, which actually expands the project to other countries including the United States (I am thinking about the 3D printed, potentially functional gun as one of the first examples).

Morehshin Allahyari, virtual landscape for #dog #dildo #satellite-dish from the series "Dark Matter." Work in progress. DR: You have just collaborated on a text that shifts between registers, performing the splits, breaks and tears it indicates in the life and work of "self-exiled" people. I was struck by an image you use of "Time, memory, space, and bodies collapsing, losing composition." [1] These ideas feature heavily in your work, where one's heritage or identity can coalesce and mutate as readily as a 3D print. MA: I am struck by the idea of representation in digital art. I think about the reconstruction of memory in virtual worlds, the rebuilding of non-existent objects from the virtual world into real life… how we understand our world through representation, the dystopian, the utopian, and everything in-between. Since I have moved to the U.S. (2007), I have become more and more fascinated by the in-depth thoughts on exile and diaspora within Edward Said's text "Reflections on Exile," Mahmoud Darwish's poems, and Lorna Dee Cervantes' Palastine poem, among others. But in my own work, I wanted to simultaneously be aware of the dangers of the romanticization of exile and self-exile - as well as the whole nostalgic remembrance of the "homeland" that is inaccessible; I wanted to look for different ways that I can use digital technology to talk about my own understanding of self-exile. So I worked on a 3D animation video, a plexiglas installation, a 16mm film, a series of Facebook post-cards installation, and a creative research/writing project in the course of one year. It's interesting to step-back and think about each of these works now (after two years); to think about geographical determinism and the collective history of the young self-exiled Iranians; but also to realize that, through time, my relationship has changed with "home" and that it will continue to change. Doing this interview and thinking about my body of work "The Romantic Self-Exiles", I remembered that I haven't thought about my house in Tehran, Yousefabad and Valiasr streets, and other common places that I used to go, for a very long time. I used to do this thing almost every night, that I would close my eyes and try to imagine and remember every details of my room in Tehran… or the exact directions/streets that I would have to take to get to whatever place. I couldn't help but think that's the only way to survive the diasporic life… could this be one dimension of the mutation of identity? Is this where I forever will feel distanced, unrelated, and disconnected from home? Or have I just entered a new stage of life in diaspora? Gray areas might be the only places worth existing...delving into identity as a transparent rather than defined; homeland as belonging to nowhere and everywhere; virtual space as both real and imagined; aesthetics as perfection vs imperfection.

Morehshin Allahyari. Excerpt from The Romantic Self-Exiles I (2012). DR: The mutations you speak of also come through in the way you approached the writing of that text, stretching the critical territory you cover by fusing the essay with a voice more readily associated with fiction. I also note elements of fabulation in your gallery and video works. Both The Romantic Self-Exiles-I and Over There Is Over Here toy with reality and imagination in a broken essayistic language. Do you understand your practice as writerly? MA: My discovery of the art world has been through creative writing (since the age of 12 when I started to take part in a private creative writing class in Iran that would meet weekly, which continued until I was 18)... so writing is very dear to my heart and it's a very important part of my work. I'm interested in bridging digital technology, writing, and visual arts in an essayistic and poetic language. I think about Milan Kundera and Chris Marker as the best examples of this style of writing. As I have worked more and more with a software like Maya, I have learned that there is something very beautiful about building and creating landscapes and environments. Especially in the Romantic Self Exiles animation, it felt like creating an imagined home… a space and environment where I could perhaps belong… but another aspect of it was talking about this experience and process of modeling, animating, texturing, etc through a self-reflexive narration. In Over There Is Over Here, there is also a landscape, but the narration is more complex with ambiguity… going back and forth between a third-person narrator and myself as the narrator and an outsider… In both of these works, though, my writing process was connected to the process of designing these virtual landscapes. DR: In another text produced with collaborator Jennifer Way you discuss the representation of female identity in Iran. Could you tell us some more about how this relates to art and romanticization in particular? MA: I was really interested in doing research on women, technology, and art in Iran, because there is almost no academic research and discourse about this topic (although the art and technology scene is growing very rapidly in Iran). So I have kept an eye on the art and technology festivals, exhibitions, workshops, and lectures that have been happening in Iran in the last 4-5 years and been amazed by the lack of women and the dominance of the hyper-masculine culture. In collaboration with Jennifer Way, we interviewed Iranian artists (mostly women) who in one way or another are and have been involved in the new media art scene in Iran and asked for their comments, observations, and concerns regarding new media art or art and technology considering the recent rise of such art practices in Iran. This is especially and personally very important to me because Iranian women have been the dominant university demographic in Iran for the last decade or so. On the other hand, in my own work, I have constantly thought about and re-defined both my Middle-Eastern female identity, as well as my identity as a woman in the field of art and technology. On the one hand, I have gradually become aware of and resisted the female identity defined by—for instance—the work of artists like Shirin Neshat. This is something that comes up in my daily discussions with other female colleagues from the Middle-East: how we feel distanced from the presentation and re-presentation of women in the work of older generation artists (in this case from Iran)... That in fact, we are eager to re-define these clichés and—in most cases—one-dimensional interpretations and exoticized or stereotypical images of women of the Middle-East; thinking about ourselves more as "Glocal."

Morehshin Allahyari,#barbie #vhs from the series "Dark Matter." Work in progress. The other side of this is my relationship with technology and the fact that I am interested in a poetic and feminine voice in technological aesthetics and in ways to challenge and push whatever medium that I'm using. In the last couple of years, I have been inspired by the works of other female artists and activists such as Claudia Hart, Brenna Murphy, Jenny Vogel, Tania Bruguera, and Guerrilla Girls. I feel like I have the amazing opportunity of combining and experimenting with all these ideas… to bring together new media, politics, art, social science, and creative writing… and examine a multi-layered understanding of female identity while dealing with the complexity of being in between. DR: To bring it back to my first question then, do you think that there is something specific in the ways and means of digital technology that enables the representation of interstitial spaces, politics and identities? MA: In both the writing/narrative and the aesthetics of my work, I am interested in the idea of imperfection and the allowance of error… which makes me think about the fact that bleeding/leading edge technology has built-in flaws and imperfections in them… which also works perfectly with the broader discourse of corruption of politics, collapse of identities, the loss of space through time, etc. In the case of 3D printing technology, I like to think there is something very special about it that doesn't exist in other software/tools/material. Maybe this is a very "Eastern/Dervish" kind of way of thinking about digital technology: to think about means and ways and reasons and effects as points of departure and entrance. You know, like trying to stay away from the fetishism and consumerism that falls into the use of digital technology… so, yes! DR: Finally, what are you working on at the moment? MA: Well, as of right now, I am creating a series of virtual spaces for my 3D printed objects, and also combining more unwelcome/forbidden objects to print in the next coming months. After this, I want to broaden the conversation to other countries in an upcoming project, creating a 3D forbidden orgy (lol) installation, looking for new ways to blur these cultural boundaries and relationships. In general, in these new series of work I am taking a break from heavy, serious work which is mostly what I've been working on and creating for the last 6 years. I feel like I am exhausted from that, and I want to actually take a step back and be able to make fun of all these very serious topics. If you think about Dark Matter and these forbidden objects that we grew up with in Iran, they are actually simultaneously fucked up and ridiculous. I think as I'm growing as an artist, I am getting more and more interested about exploring humor in serious circumstances. I don't want to feel bad for myself and the life I lived in Iran. I don't want other people's sympathy. That's why I want to be able to sometimes make fun of it more than anything else. Age: 28 Location: Dallas, TX. How/when did you begin working creatively with technology? Since the very first months that I moved from Iran to Denver to study for my MA in Digital Media Studies. I remember I only knew a little bit of photoshop, and one of the first classes that I had to take was coding and CSS. It was a big jump. But after two years, I started to work constantly with different software and digital tools… At the same time, my partner (andrew blanton) has played an important role in my approach to technology, both conceptually and how I can teach myself new software and skill-sets as an artist. Where did you go to school? What did you study? During my undergrad I was in Iran and I studied Social Science and Media Studies at Tehran University. I studied Digital Media Studies for my MA at the University of Denver, where I was invited by Lynn Schofield Clark to do research with her at the Estlow Center on projects that concerned art, culture, and media (this was my initial reason to move from Iran to the United States). Then I was invited by David Stout of Noisefold to go to University of North Texas and work with him in Developing the Initiative for Advanced Research in Technology and the Arts (iARTA) research cluster while studying in New Media Art for my M.F.A. What do you do for a living or what occupations have you held previously? Currently I am a visiting assistant professor at University of Texas in Dallas at the Art and Technology department. Before this I worked mostly doing adjunct positions. I lived in Chicago before Texas, and Denver before moving from Iran in 2007. When I lived in Tehran, I taught English and freelanced for different art and culture magazines and newspapers. What does your desktop or workspace look like? I don't have a studio space outside of our house right now. But I do have a room as my studio to work at, which I kind of like better than studios that I've had in the last 4 years. I mostly work on my Hackintosh for my animation projects. I make a lot of notes, both in Farsi and English depending on my headspace when I'm writing and thinking… I'm obsessed with lighting of the space that I work at. Some days both my workspace and desktop look more organized than the others, which might be a good measurement of how productive I'm being. : )

  References [1] Allahyari, Morehshin, and Jennifer Way. "Romantic Self-Exiles." Anglistica no. Issue 17 1 (2013). http://www.anglistica.unior.it/content/romantic-self-exiles.

In the hot lava of social media flows the critical distance between performing and being a ‘somebody’, a subject type, seems to collapse, along with the ‘integrity’ of art’s own space and frame. In the lead up to their exhibition at Arcadia Missa, Web 2.0 artists Jennifer Chan and Ann Hirsch discuss the politics of performance and the productive nausea of networked becoming with art historian Cadence Kinsey and curator Rozsa Farkas

‘State and Lore (Revolutionizing Desire: A Reclamation of Representation for its Affective Potential) is a day of talks and performances hosted by Arcadia Missa at South London Gallery’s Clore studio. Conceived as an interdisciplinary event, State and Lore plans to bring together artists, writers and academics who are currently working through questions of representation and embodiment in relation to digital media and Web 2.0 technology. There will be a live piece by Jesse Darling, a performance by Ann Hirsch featuring excerpts related to her Scandalishious project, and a talk from Paul Kneale. There will be skype talks with Jennifer Chan and Faith Holland. The symposium has been put together in conjunction with And Lore, an exhibition of works by Chan and Hirsch at Arcadia Missa, a gallery, publishers and studios in Peckham, South East London.

Via: Testing the flotation dynamics and swimming abilities of giraffes by way of computational analysis : Tetrapod Zoology

The background to this research

Everybody loves giraffes, and god knows they've been covered on Tet Zoo enough times (see the links below). And something that's been mentioned many times is the alleged inability of giraffes to swim, or even to float. There are several specific comments on this in the literature (e.g., Shortridge 1934, Goodwin 1954, MacClintock 1973, Wood 1982); Crandall (1964) mentioned a case where a captive giraffe escaped from a carrying crate, fell off the end of a jetty, and immediately sank in the Hudson River (incidentally, dead giraffes have apparently been in the Hudson more than once: it is alleged that the river has, on occasion, been used as a dump for the corpses of zoo animals).

Why should giraffes be unable to swim? I'm extremely sceptical of such claims, given that other animals sometimes said to be unable to swim - like giant tortoises, pigs, rhinos and camels - actually swim just fine or even very well. Nevertheless, giraffes are such a strange shape that one can just about believe that their swimming and/or floating behaviour differs from that of other quadrupedal mammals.

And while it's possible to find reports and even images of giraffes wading [photos above below © Jeff Arnold] (Jonathan Kingdon notes that giraffes "will wade quite deep rivers" (Kingdon 1989, p. 325)), reports that describe them swimming don't exist, so far as I can tell. A few years ago, the excellent BBC series Big Cat Diary featured a scene where a group of giraffes tried to cross the Mara while it was in flood. The giraffes got about half-way across before turning back [two of them are at the turning-back phase in the adjacent still, © BBC], and at one stage were in water that submerged them right up to the bases of their necks. I thought at the time that these giraffes must have been swimming: I was so confident that I even mentioned this on the Dinosaur Mailing List back in 2000 (I now think it more likely that those Kenyan giraffes still had their feet on the riverbed: you can see this for yourself, as the footage is online here*). Several writers and researchers who have googled 'swimming giraffes' during the course of research have discovered my comment, and I've since seen it paraphrased in a few places (such as here at Telegraph.co.uk and on Focus magazine's Q&A page).

• Thanks to Dartian for finding this video for me.

After seeing the Focus magazine piece (this was in 2008, I think), I came up with an idea. I knew that my august colleague Donald Henderson of the Royal Tyrrell Museum of Palaeontology - well known for his work on what you might call mathematic palaeontology - had produced a digital model of a giraffe for a previous project (Henderson 1999), and had been testing the buoyancy of some of his models in 'digital water' (Henderson 2003a, b, 2006). Could, I wonder, Don take his digital giraffe and drop it into digital water, and thereby test the hypothesis that giraffes cannot float, or cannot swim? This, my friends, is how papers are born...

Modelling a digital giraffe

To start with, it's clear that we wouldn't actually be able to fully test the swimming abilities of giraffes (given that we couldn't accurately replicate or estimate all the details of aquatic movement in a giraffe), but we could test the floating abilities, and hence indirectly test the potential swimming abilities.

Giraffes are complicated objects, and modelling them digitally is fraught with difficulty. A 3D giraffe model was generated via the digital slicing method described by Henderson (1999) (our model isn't definitely meant to depict any of the Giraffa taxa in particular; yes, we're well aware of the suggestion that the several 'subspecies' conventionally included in G. camelopardalis might warrant species status). Several things were done to make the model more like a real giraffe: ears, ossicones and the fleshy part of the tail were created, and a synthesized reticulated pattern was created because it made the model look so much better. Don has actually pioneered a very interesting technique for generating regularly spaced polygons and/or blotches - it has some really interesting implications that I can't discuss here (for more information, see Appendix A in Henderson & Naish (2010)).

Two details of a digital model are particularly important when testing simulated buoyancy: density and lung volume.

Giraffe limb bones are slightly thicker than those of other artiodactyls (van Schalwyk et al. 2004), so their density was set as being somewhat higher than the rest of the body (1050 g/l vs 1000 g/l). The giraffe's most notable feature - its neck - was set at 850 g/l, as is typical for hoofed mammals. As we'll see, the high density of the distal parts of the limbs and low density of the neck and head seem to have implications for the floating and swimming behaviour of giraffes.

The lungs of giraffes are peculiar in size and shape (as you'll know if you watched Inside Nature's Giants), and exactly how large they are has long been a point of controversy: estimates of their volume in an 'average' giraffe (of 1.1 tons) have ranged from a low of 10 litres (Patterson et al. 1957) to a high of 47 litres (Robin et al. 1960). By scaling up from a horse to a big, male, 1.6 ton giraffe, an enormous projected lung volume of 141 litres was obtained (lung volume is about 6 litres in humans). Projections of this size have long been thought to be erroneous, however (Stahl 1967). A probable lung size about eight times that of a human is generally thought about right... in which case about 48 litres is correct for a 1.1 ton giraffe; this scales to 74 litres for a 1.6 ton giraffe. Obviously, there's much uncertainty here and more data is needed.

Don also modelled a horse Equus caballus [shown here] as a control for the experiment.

Can a giraffe float?

Given that the horse model seems to accurately predict the real-life buoyancy of floating and swimming horses (Henderson & Naish 2010), we're fairly confident that the giraffe model mimics the real thing. By rising the simulated water level around the giraffe model [as shown in the figure below], it was found that an adult giraffe would start to float at a water depth of about 2.8 m. It seems that the hindlimbs would leave the substrate before the forelimbs, raising the possibility that giraffes in deep water might be able to pole themselves along with their forelimbs alone.

But if the water becomes deeper still, what happens when the giraffe lifts off the substrate and begins to float? In a simulated floating posture, the hips are higher than the shoulders and the heavy forelimbs and short body mean that the foreparts are angled downwards relative to the horizontal. In turn, this means that the neck is rotated downwards and has to be held near-horizontally and just at, or under, the water surface: so far as we can tell, it doesn't seem possible for giraffes to swim with the neck held erect out of the water. The horizontal neck posture then means that the head has to be held at a very awkward, upward-angled posture (assuming, of course, that the animal wants to keep its eyes and nostrils above the surface).

It's well known that the giraffe head - particularly that of old males - is dense-boned and fairly heavy, but the cavities in the head and the long trachea and oesophagus make the head and neck rather less dense than the rest of the animal (850 g/l vs 1000 g/l or more). The neck and head account for about 10.8% of the animal's total mass, but it seems that their low density actually prevents the animal's anterior part from being even further down in the water (Henderson & Naish 2010). The overall density of the giraffe is higher than that of the horse, making the animal closer to being negatively buoyant and also making it sit lower in the water than the horse model.

In conclusion, it seems that giraffes can float: there's no reason to assume that they might 'sink like stones', nor was there any indication from the model that it was particularly unstable and prone to capsizing. But the model's posture in the water is low and hardly ideal, and looks downright uncomfortable. What might this mean for swimming ability?

Bad at swimming, or really bad at swimming?

The high mean density of the giraffe and the peculiar and difficult horizontal-necked posture the model adopts in water suggest that giraffes would not perform well in water. A large amount of drag and rotational inertia also afflict the model: in fact, it suffered from 13.5% more frictional drag than the horse model (Henderson & Naish 2010). We also suggest that the unusual gait practised by giraffes may well impair their swimming abilities. Giraffes on land use a synchronous movement of the neck and limbs where backwards and forwards movement of the neck is closely linked to the limb movements. But, with its neck constrained to a sub-horizontal posture where little or no backwards and forwards movement is possible, a swimming giraffe cannot adopt a gait like the one it uses on land.

Quadrupedal mammals - like the horse - typically swim with a trot like that used on land, so it seems reasonable to assume that swimming giraffes should try and swim with a 'terrestrial'-style gait too. However, note that this argument isn't completely conclusive, because the swimming gaits of some quadrupedal mammals are very different from their walking or running gaits. Nevertheless, I still think that our assumption is a reasonable one.

Positioned in the water in an uncomfortable pose, afflicted with a relatively high mean density, suffering from substantially high frictional drag, and unable to raise and lower its neck and hence unable to adopt a synchronous gait, we conclude that giraffes would be very poor swimmers, and that it might be assumed that they would avoid this activity if at all possible. Looked at another way, we conclude that giraffes can swim, but not at all well [image below from wikipedia].

Does this have any implications whatsoever for anything?

Making predictions about the floating and swimming abilities of giraffes is fun, but does it have any wider implications? For one thing, it perhaps helps make the point that we're increasingly able to test questions in biology using computational models and simulation, rather than experimentation on real animals. In the case of the question "Can giraffes swim?", we just aren't able to use real giraffes, so our approach is - at the moment - the only one we can use to test it.

If giraffes do perform poorly in water - so much so that they avoid crossing large bodies of water should they need do - has this had any impact on their biogeography? If you look at maps of giraffe distribution - and specifically at the ranges of the different giraffe taxa - you'll see that, in places, rivers and lakes form what appear to be giraffe-proof barriers. The Zambezi and its tributaries might form a southern barrier to Angolan and Thornicroft's giraffes (Spinage 1968), for example, the Niger and Benue might have prevented the southern spread of the Nigerian giraffe (Hassanin et al. 2007), while the Nile and Great Lakes might have prevented gene flow between Kordofan and Nigerian giraffes (Hassanin et al. 2007) [figure below - from Brown et al. (2007) - shows the approximate ranges and pelage patterns of the extant giraffe taxa].

Unfortunately, we don't really know enough to be sure whether these distributional limits actually have anything to do with the ability or inability of giraffes to cross water. As we note (Henderson & Naish 2010), big rivers and lakes are formidable barriers to everything terrestrial, not just to clumsy swimmers. Furthermore, the biogeographical history of giraffes extends over many millions of years (and involves Eurasia, too), meaning that climatic changes, changes in drainage patterns, and the terrestrial movement of giraffe populations make it difficult to definitively link any aquatic barriers to giraffe distribution. Others have made similar comments (Cramer & Mazel 2007) [image below: awesome male Masai Giraffe G. camelopardalis tippelskirchi (or G. tippelskirchi), photographed at Lake Manyara National Park, Tanzania. From wikipedia].

Finally, this project is one of several I've been involved in that's gotten a bit of media attention; this attention means that the paper is going to be the subject of more content-free discussion on websites than is usual for peer-reviewed research. Let me assure all concerned readers that this research did not involve the frittering away of pennies otherwise allotted to cancer research or the detection of Earth-killing asteroids. As I've said before (and, given that this article is appearing on ScienceBlogs, I'm preaching to the choir anyway), it isn't widely realised how much work scientists do FOR FREE and FOR FUN, IN THEIR SPARE TIME. Rant over.

Oh, and having mentioned Inside Nature's Giants, it is my duty to inform you that series 2 starts on June 8th. Episode 1 looks at the anatomy of Carcharodon carcharias, the white shark. This is incredible news; I'll be writing about the series in due time.

SYNAESTHESIA is a neurological condition in which there is a merging of the senses, so that activity in one sensory modality elicits sensations in another. Although first described by Francis Galton in the 1880s, little was known about this condition until recently. A rennaissance in synaesthesia research began about a decade ago; since then, three previously unrecognized forms of the condition have been described, and hypotheses for how it arises have been put forward.

Two new studies now provide some insight into time-space synaesthesia, the least researched of all the forms of this fascinating condition. One is a case study of an individual whose time-space synaesthesia has an apparently unique characteristic. The second demonstrates that time-space synaesthetes are superior to non-synaesthetes in some cognitive abilities, and suggests that time-space synaesthesia may underly the savant-like abilities of people with hyperthymestic (or "super-memory") syndrome.

Time-space synaesthe

by Daniel Rourke  A bomb won't go off here... (Click to enlarge) Y: I like the use of the past tense. Saying “weeks before” sets up the seen* as a narrative. X: Oh yeah. Y: It’s almost like the story’s not ended, like we now are still part of the story. X: And that there’s people there all the time. Y: That they are always on this street. X: Yeah, in that little square. And they’ve always all got long, blondish hair. Shopping. Y: Does it mean that a bomb might go off somewhere else? X: That’s exactly what it means. It means that a bomb’s not going to go off here, but it is going to go off somewhere else. Y: Somewhere where people aren’t more suspicious? X: Not people: shoppers. Y: Somewhere where shoppers aren’t more suspicious. X: There’s no such thing as people – there’s just shoppers. Y: By reporting someone studying the CCTV cameras to the police the shopper didn’t become anything of greater value than a shopper. They managed to stay as a shopper and yet still act in a way which protected the rights of all shoppers everywhere. X: That is the best thing you can be for society. A citizen is secondary to a shopper. For the good of the country there is nothing better than a shopper who reports suspicious looking un-shoppers. If you’re an un-shopper, and you are in a shopping precinct, then you’re not there for the good of the country. * A play on the words ‘seen’ and ‘scene’ is alluded to here and for the remainder of the conversation. ------------------ Y: There’s a couple of things I’m a bit worried about in this seen. One is the location of the photographer who took this picture - and I’m not talking location in space, but actually location as a member of society. Nobody there is watching them. Nobody is aware of their identity as a photographer, giving them the perfect identity of the perfect terrorist. They are un-seen. They are in fact making the seen. There wouldn’t be a ‘seen’ without them. The other thing that I am worried about is the woman in pink on the left there. She looks a bit suspicious to me. She isn’t shopping. X: She is shopping! She’s a shopper. You don’t have to worry about her. Y: She doesn’t look like a shopper, she looks like a looker. She looks like a studier. She is studying the seen. X: Yeah, but she is looking at the seen with a sense of: “Yes, this is ours and we have to protect it.” Y: But do you not think that the location of the pink lady on the left is very similar to some of the shadowy figures that Salvador Dali placed within his works? Where the viewer – the shadow of the viewer – is located within the frame. X: [gasp] The pink lady is us! Y: The pink lady on the left is meant to be us, looking on the happy seen. X: The undisrupted – the un-bombed seen. Y: She’s thinking: “A bomb won’t go off here, because weeks before I reported a viewer – similar to myself – studying this seen.” X: Yeah. And it’s not just that that one ‘shopping in’ of one suspicious non-shopper protected the seen from that one occasion of being bombed – it has prevented that seen from ever being bombed. Y: A bomb will never go off here, because sometime before this photo was taken a shopper – perhaps the woman in pink on the left – reported someone studying the CCTV cameras, who wasn’t this photographer. X: No. Not this one. Y: This photographer is more interested in studying the shoppers than they are in studying the CCTV cameras. Although the CCTV cameras are in the seen. X: I am guessing that this suspicious person who was studying the CCTV cameras – and not shopping – was suspicious because they were just in the middle of town, in the middle of the day, on a week day. Why weren’t they at work? Y: Well they were. They were doing their job. Terror. X: This place, it’s a very pedestrianised, a very... Y: ...bland. X: A very bland town. A town where shoppers live. If this was a really beautiful city centre, like Bath Spa, if this was a beautiful Spa town, there would be people taking pictures all over the place of a nice Georgian building here, a nice Georgian building there. I am worried because how am I supposed to tell, when I next go shopping, who is taking pictures in a bad way and whose taking pictures in a good way? Y: It’s obvious that this seen suggests to us - the lady in pink on the left - that from now on one should shop in as bland locations as possible, in places which visually, aesthetically, have nothing going for them whatsoever. Because it’s only in a place like that that one can be absolutely sure that anybody taking photographs of or near CCTV cameras are doing so for terroristic purposes. X: Yeah. ------------------ Y: I’m a bit concerned about the notion of not relying on others. X: You can’t rely on other shoppers. They are only concerned about the next bargain, in the next shop. You - as the good shopper, who is so expert at shopping that you can get your shopping done and have time to notice what suspicious things are going on around you - you can only rely on yourself to do that. It’s up to you to protect everybody, but mainly yourself and your own shopping. Y: There is something about the notion of shopping that completely revolves around the individual. It’s that freedom that we get in a capitalistic society to choose what we want from a selection of identical goods in a series of identical shops, it’s being able to wander through the streets making the choices that define you. But there is something very much related to that in the action of the terrorist. Yeah, ok, every shopping centre, every CCTV camera is the same, but the terrorist has the right to choose which shopping centre or CCTV camera to bomb. They reduce the individual even further to a state of nothingness. There is the freedom to shop, but there is no freedom in being bombed. X: But there’s no freedom in not being bombed. We are not being bombed, and they are not being bombed, but the last thing they are is free. Y: They are not free from not being bombed. X: No. Y: They are trapped by the fact that... X: ...by the fact that they are not being bombed. But if they were bombed... Y: That would be true freedom. The London Metropolitan Police's new campaign is available online for all concerned citizens to study at their leisure: Counter Terrorism Posters. by Daniel Rourke