Eva_and_Franco_Mattes
Since 2004
Works in Brooklyn, New York United States of America

PORTFOLIO (8)
BIO
Eva and Franco Mattes are the Brooklyn based artist-provocateurs behind the infamous website 0100101110101101.ORG. Since meeting in Madrid in 1994 they have never separated, living a nomadic life throughout Europe and the US. They have been pioneers of the Net Art movement, copying and remixing other artists’ works, targeting “closed” websites, and turning private art into public art. Their off-the-wall performances - that have caused them several lawsuits - include stealing dozens of fragments from art masterpieces (Stolen Pieces, 1995), rolling out a media campaign for a non-existent action movie (United We Stand, 2005) and even convincing the people of Vienna that Nike had purchased the city’s historic Karlsplatz and was about to rename it “Nikeplatz” (Nike Ground, 2003).
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DISCUSSION

The World in One's Pocket?


>From "Springerin", Oct 2002 > http://www.springerin.at

The World in One's Pocket?

The Net project "VOPOS" by 0100101110101101.ORG

by Vera Tollmann

In December of last year, the European Union and the European Space
Organisation agreed to set up a European venture as competition for the
American Global Positioning System (GPS) by 2005. The non-military
system "Galileo" is to consist of 30 satellites and cover the entire
globe. [1] The EU argues that this decision is aimed at making it
independent of the GPS - which is still used for military purposes - by
giving it its own surveillance complex. The end users of this
geographical location system are to include customs and the judiciary,
transport and communications authorities, and tourism organisations. On
May 1 the White House in Washington announced that "SA" (Selective
Availability), which caused civilian equipment to give more imprecise
results, would no longer operate. These two decisions show what a
central role satellite systems will play, or already play, in everyday
life, alongside the telecommunications systems of telephone and
internet.

These developments, leading towards an ever more perfect universal
surveillance method, have not gone without comment from activists [2]
and artists. Whereas at the end of the nineties there were mainly
reactions to the - in some cases - extremely extensive installation of
video cameras in public places, [3] a new technological paradigm of
media art is now starting to emerge. Besides Web-based works about the
surveillance of data transfers, [4] the first artists have already begun
working with the GPS, such as the documenta participants tsunamii.net.
This involves a Web-related approach: tsunamii.net looked for
correspondences on the Web to the real places they passed on their
travels. The focus is on an alternative mapping of the internet.

The current project by 0100101110101101.org, which has the awkward name
"VOPOS" - a reference to former East German police as representatives of
a historical surveillance state that shows little more than a "radical
chic aesthetic" -, also functions partly via GPS. Tanio Copechi and
Renato Pasiopani, as the operators of 0100101110101101.org call
themselves, carry a GPS transmitter around with them. It sends the data
it receives to a server via mobile phone, and this data is then
visualised on the web site by means of software. With the aid of a
digital street map of Barcelona, which is where the two Italian artists
claim to be, users can see which street they are in - whether just one
or both of them is an open question. The clock can also be turned back -
this means it is possible to vaguely reconstruct the route taken through
the city by the "surveillees". But "VOPOS" has nothing to do with a
sociological interest in the erratic wanderings of everyday life, as the
situationist approach would suggest; it is a criticism of the potential
of the GPS: who uses the coordinates it provides, and what does the
electronic profile that can be deduced from them reveal?

The two artists do not just illustrate the way the GPS functions within
a larger communications complex; their artist strategy is also expressed
in their refusal to give their identity and provide a level of narrative
that could explain why they visit the places they do (unless someone
knows the city very well and thus has options for interpretation). It is
equally impossible to verify whether they really were at the positions
marked or not. "VOPOS" therefore also remains a game involving reality
and fiction, information and disinformation. For a knowledge of the way
the system could potentially function suffices to enable one to
critically take up the surveillant's perspective. As the second part of
the long-term project "Glasnost", "VOPOS" continues the planned
collection of comprehensive, person-specific data. The first phase -
which still exists on the web site - consisted in the project
"life_sharing". [5] 0100101110101101.org put the local hard disk of
their computer onto the Web, thus making their private e-mails, project
sketches and software publicly available.

What is the artistic added value of this project? To what extent is it
only a preparation for something that can be commercially exploited
later? After the experiences with the "Big Brother" series, a similar
scenario using GPS technology would also be imaginable: one group - the
surveillants - has to hinder another group - the "surveillees" - in
carrying out the game task allotted to them. "VOPOS" operates precisely
at the ambivalent point between affirmative slogans like that of one
mobile phone manufacturer - "Put the world in your pocket" -, and the
non-commercial production of transparency.

Translation: Tim Jones

Notes:

http://0100101110101101.ORG

1 http://europa.eu.int/comm/energy_transport/de/gal_de.html (Galileo
homepage)
http://www.heise.de/newsticker/data/dz-01.12.01-003 (Report on the
decision in favour of Galileo, 1 December 2001)

2 http://www.bigbrotherawards.at

3 See the Surveillance Camera Players:
http://www.notbored.org/the-scp.html

4 See the Software Carnivore: http://rhizome.org/carnivore

5 See Marina Grzinic: "Das Leben zuruckgewinnen". In: springerin 1/01,
p. 10

###

Anything has been said about this renegade cyber-entity, accused of
being "simple thief", dubbed as "media dandy" and "cultural
terrorists" or, simply, "shit". 0100101110101101.ORG prdouced some of
the most perfect media exploits of the last years, such as the
creation and diffusion, at the opening of the 49th Venice Biennial, of
the computer virus "biennale.py" or the memorable spoof of the
Vatican website: almost identical with that of the Holy See, but with
slight deviations. HTTP://0100101110101101.ORG

DISCUSSION

[Fwd: ScanMail Message: To Sender, sensitive content found and action taken.]


System Attendant wrote:

> Trend SMEX Content Filter has detected sensitive content.
>
> Place = rare@rhizome.org; ; ; renato posapiani
> Sender = renato posapiani
> Subject = RHIZOME_RARE: /// 0100101110101101.ORG /// The File That Wouldn't
> Leave
> Delivery Time = October 19, 2002 (Saturday) 17:40:14
> Policy = X X X
> Action on this mail = Delete message
>
> Warning message from administrator:
> Content filter has detected a sensitive e-mail. If you feel you have
> received this message in error please contact the person you are attepmting
> to reach and inform them of the problem. Thank You.

DISCUSSION

/// 0100101110101101.ORG /// The File That Wouldn't Leave


/// PROPAGANDA /// HTTP://WWW.0100101110101101.ORG ///

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>>> 0100101110101101.ORG / The File That Wouldn't Leave

Satanism, Paedophilia, Cyber Inquisition and Cultural Terrorism
in the amazing story of
The File That Wouldn't Leave
You won't believe it!

The 4th March 2002, 0100101110101101.ORG is forced to immediately erase
from its server the file containing Luther Blissett's book "Lasciate che
i bimbi" ("Let The Children. Paedophilia as a pretext for a witch
hunt").

The server hosts the (un)complete archive of the Luther Blissett Project
1994-2000 (http://www.LutherBlissett.net). The imposition comes from the
international Internet provider PSInet, with the threat of cutting
0100101110101101.ORG's connectivity. The excuse is that the content of
the book is "illegal and defamatory and relating to paedophilia". The
named book analyses instead how the creation of emergencies becomes a
way to establish more restrictive laws and censorship, both in the real
world and on the Internet. The book comes to the conclusion that the
paedophilia phenomenon has been amplified and magnified resulting in a
repressive crusade towards all individual liberties.

The File That Wouldn't Leave is the story of one of the case of subtle
censorship obtained trough the serves Net Abuse Policies, that allows to
impose the removal from a website of any material considered defamatory,
obscene, pornographic, paedophile or simply inconvenient. The
pyramid-like Internet connectivity system allows any server, by simply
sending an email message, to start a chain reaction of removing requests
that, threatening to cut the connectivity, starts from the upper level
server downwards, to reach any single website that hosts the named
material. Whereas no server is supposed to verify the truth of the
accusation, any server has the right of imposing the removal to the
lower ones.

The File That Wouldn't Leave shows how censorship develops and where it
can lead.

/// Commissioned by Kingdom Of Piracy
/// http://residence.aec.at/kop

HTTP://WWW.0100101110101101.ORG
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HTTP://WWW.0100101110101101.ORG

///

# Anything has been said about this renegade cyber-entity,
# accused of being "simple thief", dubbed as "media dandy"
# and "cultural terrorists" or, simply, "shit".
# 0100101110101101.ORG is the author of some of the most
# perfect media exploits of the last years, such as the
# creation and diffusion, at the opening of the 49th
# Venice Biennial, of the computer virus "biennale.py" or
# the memorable theft of the art gallery Hell.com.

/// PROPAGANDA /// HTTP://WWW.0100101110101101.ORG ///