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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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RED talk, Design Council. Photo by Kate Andrews
Photo by Kate Andrews

I’ve blogged before mentioning the work of the UK Design Council’s RED research arm, which applies ‘design thinking’ to redevelop and create public services appropriate for societal changes right now and in the years to come. The previous post was specifically about Jennie Winhall’s ‘Is design political?’ essay, but I’ve kept in touch with RED’s work and was very interested to attend RED’s Open House last Friday, along with Katrin Svabo Bech and Kate Andrews.

The presentation, by Jennie Winhall, Chris Vanstone* and Matthew Horne, introduced the Kitchen Cabinet (democratic engagement) and Activmobs projects, along with a brief discussion of the concept of shaping behaviour through design, which is of course of significant pertinence to the ‘architectures of control’ idea (as it is indeed to captology).

(Sadly, there was apparently not time to give any more than a cursory treatment of RED’s Transformation Design concept [PDF link, 193 kb], which re-casts design thinking as the cross-disciplinary approach for problem-solving in a great variety of disciplines. The paper leads with a great quote from Charles Eames: “More than 30 years ago, Charles Eames, the American multidisciplinary designer, was asked, ‘What are the boundaries of design?’. He replied, ‘What are the boundaries of problems?’”. I was especially looking forward to a discussion on transformation design, as my hunch is that many of us who’ve chosen to go into design (and engineering) have realised and appreciated this for a long time – indeed, it may even be the reason why we went into it: a desire to acquire the tools to shape, change and improve the world – but that by expressing it explicitly, RED has a great chance to win the understanding of a political establishment and general public who still often equate design with styling and little more. But I digress…)

Jennie Winhall’s discussion of shaping behaviour through design was a clear exposition of the principle that empowering people to change their own behaviour ought to be more preferable than forcing them to change their behaviour externally. Traditional policy-making fails in this context: it is easier to put in CCTV than to solve the underlying casuses of crime; it is easier to fund more obesity treatment than it is to tackle poor diet in the first place (the phrase ‘symptom doctor’ was not used, but it might have been). Describing the idea of manipulating behaviour through design as being slightly ‘sinister’, Jennie noted that it has been used in a commercial context for many years (it was one of those talks where I was almost bursting to interrupt with actual examples discussed on this website, though I didn’t!), but, as Oxford’s Lucy Kimbell pointed out, there is not necessarily an easy way to apply the techniques in a field where the aims are less well-defined (“social good” as opposed to “money”):

“But the outcomes of public service designs are complex. RED sees value in making use of design methods used in Marks & Spencer, for example, to make the consuming experience “compelling and desirable” and applying them to public service contexts. In the M&S context, the use of these methods may well have a clear, measurable business objective: increasing sales, for example – and even here design practitioners may well struggle with framing the design problem, communicating with the client, and measuring the value of the design process and artefacts. How much harder it is to define and agree goals for public services or public goods?”

Looking at the politically motivated examples of architectures of control which I’ve examined over the last couple of years, I’d say a significant percentage of them are designed with the goal of stamping out a particular type of behaviour, usually classed as anti-social and usually extremely contentious: this really is social engineering. The success of skateboarding ‘deterrents’ is measured by how few children skateboard in an area. The success of the Mosquito is measured by how few children congregate in an area. The success of park benches with central armrests is measured by how there are no longer people lying down on them. The “woollier” behaviour-shaping architectures of control, such as Square Eyes or the Entertrainer are very much edging towards captology, and perhaps these examples are closer to RED’s field of experience.

WorldChanging also has a discussion of the RED Open House presentation.

*Speaking to us individually, Chris Vanstone used “stick, carrot or speedometer” as a way of classifying design methods for behavioural change, and I think this is worthy of a separate post, as this is an extremely insightful way of looking at these issues from an interaction design point of view.

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Uninnovate.com
Image from uninnovate.com

I’ve just come across a very interesting new blog, uninnovate.com, which focuses on the phenomenon of “engineering expensive features into a product for which there is no market demand in order to make the product do less.” The first few posts tackle ‘Three legends of uninnovation‘ (the iPod’s copy restrictions, Sony’s mp3-less Walkman, and Verizon’s rent-seeking on Bluetooth features), Microsoft’s priorities (patching DRM flaws vs. security flaws that actually damage users), Amazon’s absurd new Unbox ‘service’ and ‘Trusted’ computing for mobile phones. The perspective is refreshingly clear: no customer woke up wanting these ‘features’, yet companies direct vast efforts towards developing them.

In a sense the ‘uninnovation’ concept is a similar idea to a large proportion of the architectures of control in products I’ve been examining on this site over the last year, especially DRM and DRM-related lock-ins, though with a slightly different emphasis: I’ve chosen to look at it all from a ‘control’ point of view (features are being designed in – or out – with the express intention of manipulating and restricting users’ behaviour, usually for commercial ends, but also political or social).

Uninnovate looks to be a great blog to watch – not sure who’s behind it, but the analysis is spot-on and the examples lucidly explained.

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Remote magnetic manipulation of nervous systems - Hendricus Loos
An image from Hendricus Loos’s 2001 US patent, ‘Remote Magnetic Manipulation of Nervous Systems’

In my review of Adam Greenfield‘s Everyware a couple of months ago, I mentioned – briefly – the work of Hendricus Loos, whose series of patents cover subjects including “Manipulation of nervous systems by electric fields”, “Subliminal acoustic manipulation of nervous systems”, “Magnetic excitation of sensory resonances” and “Remote magnetic manipulation of nervous systems”. A theme emerges, of which this post by Tom Coates at Plasticbag.org reminded me:

“There was one speaker at FOO this year that would literally have blown my brain away if he’d happened to have had his equipment with him. Ed Boyden talked about transcranial magnetic stimulation – basically how to use focused magnetic fields to stimulate sections of the brain and hence change behaviour. He talked about how you could use this kind of stimulation to improve mood and fight depression, to induce visual phenomena or reduce schizophrenic symptoms, hallucinations and dreams, speed up language processing, improve attention, break habits and improve creativity.

He ended by telling the story of one prominent thinker in this field who developed a wand that she could touch against a part of your head and stop you being able to talk. Apparently she used to roam around the laboratories doing this to people. She also apparently had her head shaved and tattooed with all the various areas of the brain and what direct stimulation to them (with a wand) could do to her. She has, apparently, since grown her hair. I’d love to meet her.”

Now, the direct, therapeutic usage of small-range systems such as these is very different to the discipline-at-a-distance proposed in a number of Loos’s patents (where an ‘offender’ can be incapacitated, using, e.g. a magnetic field), but both are architectures of control: systems designed to modify, restrict and control people’s behaviour.

And, I would venture to suggest, a more widespread adoption of magnetic stimulation for therapeutic uses – perhaps, in time, designed into a safe, attractive consumer product for DIY relaxation/stimulation/hallucination – is likely to lead to further experimentation and exploration of ‘control’ applications for law enforcement, crowd ‘management’, and other disciplinary uses. I think we – designers, engineers, tech people, architects, social activists, anyone who values freedom – should be concerned, but the impressive initiative of the Open-rTMS Project will at least ensure that we’re able to understand the technology.

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Ulises Mejias on ‘Confinement, Education and the Control Society’ – fascinating commentary on Deleuze’s societies of control and how the instant communication and ‘life-long learning’ potential (and, I guess, everyware) of the internet age may facilitate control and repression:

“This is the paradox of social media that has been bothering me lately: an ‘empowering’ media that provides increased opportunities for communication, education and online participation, but which at the same time further isolates individuals and aggregates them into masses —more prone to control, and by extension more prone to discipline.”


Slashdot on ‘A working economy without DRM?’ – same debate as ever, but some very insightful comments


Slashdot on ‘Explaining DRM to a less-experienced PC user’ – I particularly like SmallFurryCreature’s ‘Sugar cube’ analogy


‘The Promise of a Post-Copyright World’ by Karl Fogel – extremely clear analysis of the history of copyright and, especially, the way it has been presented to the public over the centuries


(Via BoingBoing) The Entertrainer – a heart monitor-linked TV controller: your TV stays on with the volume at a usable level only while you keep exercising at the required rate. Similar concept to Gillian Swan’s Square-Eyes

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