Showing posts with label surveillance. Show all posts
Showing posts with label surveillance. Show all posts

Monday, February 28, 2011

Revisiting The Catalogue


To file under just-in-case-you-haven't-seen-it: British video artist Chris Oakley's brilliant short film The Catalogue (02004).

Preferring to let the thing speak for itself, I won't describe the content, but just want to note that I find it raises an interesting line of thought about the difference between, on the one hand, the modes of visual and narrative representation that make a complex system or technology legible and communicable (especially in prospect, when it doesn't yet exist), and on the other hand, how it might actually work in practice, which may be altogether different.

Drawn to my attention back in January '06 by longtime design collaborator Matt Jensen, I think this video failed to appear previously here at the sceptical futuryst mainly because I didn't start the blog until a few months after that. But a couple of weeks ago, in discussion with Liam Young (of the fabulously interesting Tomorrow's Thoughts Today) I found myself singing the praises of this -- I'm tempted to say classic -- video artifact-from-the-future.

[Update 30nov16: video embed fixed.]

Related posts:
> Surveillance Supreme
> Permission Culture
> Neill Blomkamp, visual futurist

Monday, November 24, 2008

Surveillance Supreme


This is a highly ingenious, widely viewed, and justly acclaimed near-future artifact, in video form, produced for the American Civil Liberties Union. It was released in 02004 as part of a campaign to raise awareness about surveillance, and over four years later, the flash version remains live at the ACLU website. The brief but effective clip warns, with humour relieving some of the deadly earnestness of its agenda, about the possible privacy-endangering implications of joined up databases containing personal information.

I'd seen this some time ago, but only a short while back did some research and found it to be the work of one Micah Laaker, designer of interactive experiences. Micah kindly agreed to an interview by email, to explore the story behind this excellent in-scenario fragment of an electro-panopticon future.

SC: So if you could first say who you are in one or two sentences, then...

ML: I lead a team of designers and prototypers on Yahoo!'s efforts to provide platforms and tools to 3rd-party developers and publishers. Since joining 4 years ago, I've led teams on our efforts around adaptive personalization, RSS, user registration, My Yahoo!, and more. Before Yahoo!, I led the design efforts of Island Def Jam Music Group's artist and label sites, wrote two books, designed and illustrated a paranormal trivia game, directed a hip-hop music video, and worked with clients like Stan Lee, Zagat, Disney Channel, and Sprint PCS. I herald from the great city of Omaha, NE, and am a fan of tiny houses, illustration, semantic metadata, cryptozoology, and information design.

SC: What was the story behind the ACLU clip?

ML: The ACLU Pizza Surveillance movie came from the good folks at the ACLU. I'd been working with them for several months on a number of infographics when they asked whether I'd be willing to come up with a visual storyline to better present a recording they'd made. To be honest, I don't remember the whole back story in terms of how they decided to record the awkward pizza ordering scenario.

I do remember that I received an MP3 file, and began sketching out 5 visual accompaniments to the piece. Most centered on the people in the story (the order taker and the gentleman caller), but one flipped the focus to the screen of the order taker. I wanted to try that one out, as (after about the 50th listen to the recording) I began wondering, "What is this lady seeing that she isn't saying to the guy?"

I'd like to think it was the little details (like the Nancy Drew book checkout, the suggestion of seeing his voting record, and his eczema inflammation) that won them over. But, after reviewing the different proposals, the ACLU centered in on this approach quickly, too. (I showed 4-5 screens for each approach with a paragraph or two about how the visuals would unfold.) They were (and continue to be) great to work with, and really let me run with the visuals and animations from that point.

SC: What kind of reception has it received, and what lessons have you been able to draw from that? How has it affected your subsequent practice as a designer?

ML: Aside from the MF Doom music video, the Pizza piece continues to be one of the best-received works I've tackled. It won honors in resfest|10 and the Media that Matters 5 festival, and was the subject of Jon Udell's (and others') examinations of how social media moves through the Internet. It's been very flattering to have such smart and talented folks applaud the work, although I largely believe I get far more credit for the piece than I deserve. (Again, the folks at the ACLU who came up with the original idea deserve the real credit; I'm proud of the way we worked together to package it in a creative manner and extend its implications through the animation.)

In terms of changes I've incorporated into my design process since, it's rather technique-oriented. The video was intended to playback only on the ACLU website. As I built the graphics, I wondered whether I should spend a bit more time building resolution-independent versions. Considering the amount of time I've since had to spend to rebuild the movie, and the requirements from all the festivals for high-resolution footage, I've learned to build (when at all possible) for dimensions and media larger than what the project requirements dictate... you just never know when those requirements might change.

Most surprising, though, is probably the fact that I then went on to Yahoo! to work on its personalization efforts, where we work to tailor the network's content and interfaces to match users' behavior. Not surprising, however, is that I have made a priority of providing users with the control then to delete such data in such interfaces.

SC: How does the clip "work"? (For example, how does communicating "in-scenario" affect the message?)

ML: The decision to focus on the order taker's screen helped us communicate the extent to which an individual's sense (and reality) of privacy could be eroded. Anything lost by not showing the caller or visualizing the specific elements discussed is overshadowed by the sinister details exposed to the viewer of the piece. In several instances, you can watch as the order taker browses through caller's personal information (as just about anyone would, should they be given such a dashboard on another person's info).

This idea that the mundane task of ordering a single meal could expose extensive personal information has clearly resonated with a large viewing audience, likely because folks begin to see steps toward this future already. Whether via the request for your ZIP Code when buying batteries at Radio Shack or having your name announced to all around when picking up groceries at Safeway while using your club card, many of us uneasily participate in such exchanges and wonder if we're slowly being desensitized to the "master plan" illustrated in the video.

SC: What do you think these two fields of practice, futures (scenarios) and design, have to offer one another?

ML: Design is largely a process used to make something complex understandable and interesting. Whether text and image, interface, or tabular data, the source becomes far more engaging and meaningful after passing through this process. So, if by "futures" you are describing how to package and present possible scenarios of some yet-to-come moment or issue, design is clearly well suited for such a task.

By this, I simply mean that the design process can be useful to those looking to find meaningful ways of sharing their articulations of the future. Conversely, those in the practice of design generally enjoy thinking of "what if" situations, where the rules and dictates of everyday projects fall away; futures work would seem, in a similar fashion, complementary to design work and could provide inspiration for solutions yet to come.

SC: What other artifacts, videos, media (in any form) are you aware of that have this quality of inviting someone to "experience" a future?

ML: Hmm. Tough question. In many ways, what we did with the Pizza piece is really no different than film. We used a visual storytelling medium to walk the audience through a disturbing (and disturbingly possible) scenario... a scenario which, for all intents and purposes, is generally annoying already. (Who, after all, looks forward to giving up their credit card number to the underpaid high school student at the other end of the line?)

The staid answer to this, of course, is that video games would appear to run closest to this experience. Often set in the "first person," as is the Pizza piece, the game allows individuals to experiment with alternate (and some would say worrisome) behavior, and the in-game scenarios are often seemingly plausible. In other words, even when set in the future, many games leverage existing environments (such as specific cityscapes) and existing physics models to paint a realistic but alternate scenario.

In this case, though, the player of such a game is in control (to some extent) over which direction they head, whereas in the Pizza piece, we drive each viewer down the same disconcerting path.

Micah, many thanks again for your time.

Related posts:
> Permission Culture
> Future news-flash: your vote counts
> In memoriam

Tuesday, January 23, 2007

On not thinking too hard

Some time ago, one Jose Garcia from a website called MemeTherapy emailed to ask me a couple of questions for a regular feature entitled "Brain Parade". Here's what transpired -- the questions he posed, and the answers I duly supplied:

Q: Putting aside a comprehensive vision of the future, do you have a single "pet prediction" of something that you think might happen over the next decade or two?

A: I think prediction will be widely discredited for evincing, in most cases, an unsound epistemological stance in relation to "the future" (which should usually be in the plural).

Q: Does the increasing willingness by many people to share private information online suggest a shift an attitudes towards privacy or could it be naivete?

A: Both things are happening. Attitudes are certainly changing, but there's also an element of naivete -- behaviour uninformed by foresight -- at play in our evolving info-sharing habits. Many web users don't yet realise the durability of the tracks they leave behind, and much of what people do with the web is not informed by forethought about how (or by whom) it could later be used. The fact that a large chunk of the adolescent generation is leaving records of its social life online may suggest that many would have to deal with some degree of embarrassment in later life, courtesy of all those crazy party shots archived on myspace. Or it may mean that, with more fragments of people's "private" lives readily available in the "public" domain, the content of what's cordoned off in the name of privacy shrinks (and with it, the causes of embarrassment). Meanwhile, we may also develop more sophisticated strategies for managing our electronic personas, similar to (but on a more modest scale than) the way public figures have people to manage theirs. Main point: the technology changes faster, so the attitudes to privacy tend to be negotiated in response, rather than beforehand.

"Function creep" is central here; info collected for one purpose being used in unanticipated ways later on. An offline example: the increasing prevalence of security cameras (in the city of London it's already reaching Orwellian proportions) makes many fragments of one's daily movements available to the various eyes in the sky -- and this is largely accepted in view of prevailing crime and terrorism concerns. Now, a centralised database automatically tracking individuals throughout the day, using facial recognition, generated simply by joining up separate surveillance mechanisms, might not be so welcome. But as it becomes cheaper to link up, and perhaps more costly politically not to be able to track people, the calculus changes. What may once have been unacceptable could come to be regarded as necessary. So too with online information: what I today share with you personally through my gmail account could soon be trawled as a matter of routine by parties I never thought would access it, if the political climate makes that shift viable.

So, current trends suggest that "naive" use of IT is paving the way for changed attitudes, mostly in the nature of a contraction, to privacy itself. (Interestingly, all technology use is naive in the sense that we don't know what surprises are in store will cast current habits in a different light.) I have heard one senior futurist describe privacy as a middle-class illusion and luxury whose days are numbered. However, it seems unlikely that issues framed as personal or privacy concerns would be conceded on a large scale without a fight, which raises the interesting possibility of a backlash.
Perhaps not surprisingly, my response to Q1 has not appeared in the "Pet Predictions" Brain Parade. But since the feature based on Q2 hasn't yet surfaced (Jose has -- much like me, it seems -- been too busy to post anything substantial since mid-November) I wanted to pick up that thread.

This is partly because I've been puzzled about my own reticence about getting started on this blog again after a break. It's not that I'm not having lots of interesting conversations, stimulating work, and exciting experiences. Quite the opposite -- but writing regularly is a hard habit to get into, and an easy one to get out of. So, appropriately, the most recent post on MemeTherapy as I write this is a Brain Parade around the question "Do You Get Writer's Block?" And I've been thinking, there could be a link between the privacy question, and the writer's block question -- which I wasn't asked, but if I had been, the answer would unfortunately have to be an unqualified "yes" -- and, come to that, the prediction question too.

The connection? I think as a blogger you need a certain shamelessness, or disregard for posterity, in order to say pretty much anything online, in a form that could come back to haunt you many years hence.

I spent most of last summer working at The Long Now Foundation on its still-dormant-but-hopefully-not-for-too-much-longer Long Bets project, which is ultimately about holding people responsible for their prognostications. That is, lots of pundits and commentators make predictive statements for rhetorical (or political) purposes that serve their needs in the moment, but that are forgotten over time. They can thus retain the impressive aura of providing incisive, foresightful analysis without being held to account, because by the time the decisive moment rolls around, their earlier remarks have been forgotten. A memorable example of this accountability principle in action (courtesy of the FAIR website -- Fairness and Accuracy in Reporting) concerned Thomas Friedman's "rolling deadline" on Iraq, which sparked an interesting conversation internally at Long Now in relation to redesigning Long Bets.

For the record, it is my expectation that as smarter, deeper search tools become available, predictive statements will become more readily and more closely monitored, and the abuse of future discourse will be harder to get away with (...sure, you can quote me on that).

Even so, it's become apparent to me that whether or not you're in the prediction business, writing for cyberspace is not the same (from an accountability perspective) as writing in an earlier era. As much as I favour tightening the reins on people prone to abusing the ephemerality of public memory with manipulative or opportunistic prediction-mongering; if you think about it too much (and apparently, I do) it's also a little scary that anything you say can be held against you in the court of public opinion; not just now, but at any future time.

A dark lining inside that silver cloud could be the spectre of an informational variation of the Peter Principle, a scenario in which the most inoffensive, non-risktaking, vanilla-dull people who, by virtue of not doing anything very interesting with themselves, contrive to leave no online trace of political or personal indiscretions; and thus are best able to survive their perilous ascent up the ladder of public scrutiny, because they're the ones who have nothing to hide. (Of course it might be argued that there's more than a touch of this triumph of mediocrity in politics today...)

Maybe the key is not to think too hard about what you write, lest you fall prey to the paralysis of excess self-consciousness and karma vertigo; not to be perturbed by the cliches that crowd onto the blank slate before your eyes... (thanks to Jake Dunagan for a nice image that goes meta on writer's block).

Although I'd like to say I have the best interests of future generations at heart, I can't really claim to know what those are. An innocent and progressively well-intentioned remark today could be the stuff of Michael Richards and Mel Gibson levels of embarrassment in years to come!

So I'm blogging for today. And today, that's enough.

Welcome back to the sceptical futuryst.