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Image from Flickr user Monkeys & Kiwis

Image from Monkeys & Kiwis (Flickr)

Chris Weightman let me know about how it felt to watch last Thursday’s iPod Flashmob at London’s Liverpool Street station: the dominant sense was of a mass of people overturning the ‘prescribed’ behaviour designed into an environment, and turning the area into their own canvas, overlaying individualised, externally silent experiences on the usual commuter traffic.

Probably wouldn’t get away with that sort of thing at an airport any more anyway, but what will happen to this kind of informal gathering in the era of the societies of control? When everyware monitors exactly who’s where and forces the barriers closed for anyone hoping to use the space for something other than that for which it was intended?

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Part of the cover of a late-60s Pan edition of Casino Royale

Signal vs Noise talks about the casino experience – a world awash with designed-in architectures of control, both physical and psychological (and physiological, perhaps), truly environments designed specifically to manipulate and reinforce certain behaviour, from maze-like layouts (intentional route obfuscation – perhaps even more so than in supermarkets) to the deliberate funnelling of winners past many other places to spend their chips on the way to the cashier’s window.

While the commenters (including ‘Hunter’ who runs a blog on casino design) attempt to clarify/debunk some of the more legendary ‘casino tricks’ including restricting daylight and pumping extra oxygen onto the floor, it’s clear that an enormous wealth of expertise has developed over the years to maximise the control of players and thus maximise casinos’ takings.

A couple of months ago, Scott Craver mentioned another interesting casino trick:

“This casino had a cell-phone blocker, and of course our conference room would have no wi-fi. Apparently the goal is to attract people to machines and disconnect them from everything else in the world. From the gambling areas you cannot tell if it is day or night. And the way everything was designed to suck people in had all the subtlety of a mousetrap.”

(Despite spending most of my formative years reading the James Bond books over and over again, and being fascinated by Thomas Bass’s The Newtonian Casino, I’ve only ever actually been in one ‘proper’ casino, in London, and I spent most of that time watching a friend play blackjack and trying to apply what I could remember from Bringing Down The House, so I’m not really very familiar with the subject. But it’s extremely interesting, and worthy of more research – and comparison with other ‘public’ environments.)

*Yeah, it’s a calculated pun!

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Photo by Yumiko Hayakawa

Images from Yumiko Hayakawa

Yumiko Hayakawa has a very thoughtful and well-illustrated article at OhMyNews on the story behind the variety of ‘anti-homeless’ benches and architectural features (including public art) in Tokyo’s parks and public areas – by making it difficult or impossible to lie down. (We’ve looked briefly before at benches with central armrests before, along with anti-sit devices and of course anti-skateboarding measures – ‘disciplinary architecture‘)

Many of the features, such as the benches shown above and below, are also designed to discourage everyone from spending too long on them, even when sitting normally, by deliberately making them uncomfortable:

“The bench in the photo below may appear to be of modern design, but because of its tubular construction one risks sliding off if not careful.

One should be especially careful if drunk at the time! Made of stainless steel, the benches are hot in summer and cold in winter. The Toshima-ward parks office, which oversees Ikebukuro West Park, home to this bench, describes the bench as “designed to keep with the modern image of the area while at the same time not allowing homeless people to loiter.”

Suggestions that the benches were dangerously slippery and also uncomfortable met with the advice that “people should take the utmost care when sitting on them” and that these benches were only something to lean on or sit on for a few minutes.

That is, they want us to regard the bench as “somewhere you can sit if you have to.” It makes you wonder who would actually want to sit on such a bench.”

Photo by Yumiko Hayakawa

There are examples of bus stop ‘perches’ and uncomfortable café seating to discourage loitering from many areas of the world, but it does seem as though Tokyo’s authorities perhaps see inconveniencing all members of the public as merely collateral damage in a ‘war’ against the homeless, which itself is more than simply contentious. Nevertheless, people adapt and find their own ways around discipline. Hayakawa interviewed some homeless people about the benches:

“Most common were the “defeatists,” who gave up on the grounds that the benches were so uncomfortable that it was easier to just lay down a newspaper and sit on the ground. Next most common were the “optimists,” who argued that while they found it a hassle to be unable to sit on benches for a long period of time, it did mean that other park users had to put up with seeing homeless people less. Finally, there were the
“innovators,” who would lie folding their bodies into a V-shape around the central bench divider, or placing bags on either sides of the divider at the same height, or even placing a camping stove underneath the stainless steel tubular bench above to cook and at the same time warm the bench!”

Do artefacts have politics?” Langdon Winner asked in 1986; the answer is, of course, yes.

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The Mosquito sound has been mixed (sort of) into a dance track:

“…the sound is being used in a dance track, Buzzin’, with secret melodies only young ears can hear.

Simon Morris from Compound Security said: “Following the success of the ringtone, a lot of people were asking us to do a bit more, so we got together with the producers Melodi and they came up with a full-length track.

“It has two harmonies – one that everyone can hear and one that only young people can hear.

“But it works well together or separate,” he added.”

There’s a clip linked from the BBC story, or here directly (WMV format). Can’t say the “secret melodies” are especially exciting (and yes, I can hear it!) but I suppose it’s a clever idea. There could be some interesting steganographic possibilities, and indeed it could be used for ‘cheating in tests’ as Jason Thomas puts it here.

This is the same Simon Morris who’s quoted in an earlier BBC story as saying that teenagers (in general) don’t have a right “to congregate for no specific purpose”, so it’s interesting to see him getting involved with young peoples’ music. Nevertheless, I can see the dilemma that Compound Security are in: they’ve created something designed to be unpleasant for teenagers, but are also capitalising on its potential appeal to teenagers. It’s clever, if rather inconsistent branding practice.

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Eye

In a recent post, I discussed a Spiked article by Josie Appleton which included the following quote:

“Police in Weston-super-Mare have been shining bright halogen lights from helicopters on to youths gathered in parks and other public places. The light temporarily blinds them, and is intended to ‘move them on’, in the words of one Weston police officer.”

A friend, reading this, simply uttered a single word: “Mirror”.

What’d happen then? Is the risk of a blinded pilot and a crashed helicopter really worth it?

Or perhaps it’s the state, and by extension Avon & Somerset Police (in this case), who are the real blind pilots, attempting to ‘guide’ society in this way? If not blind, they’re certainly short-sighted.

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As Cory Doctorow says, “Your home and life are increasingly full of devices that seek to control, rather than enable you.”

That, succinctly, is what this website’s about: design as something to restrict and control the user, rather than empower and enable. Products that enable you to do less. Products that force you to interact with them in a way which (often) serves someone else’s interest rather than your own.

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