[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.10,0:00:15.28,Default,,0000,0000,0000,,{\i1}34C3 preroll music{\i0}
Dialogue: 0,0:00:15.28,0:00:26.85,Default,,0000,0000,0000,,Herald: So. The last are the best or\Nsomething like that. Our next speaker is
Dialogue: 0,0:00:26.85,0:00:33.01,Default,,0000,0000,0000,,here waiting for this massive crowd that\Nwill support him to go through his
Dialogue: 0,0:00:33.01,0:00:42.74,Default,,0000,0000,0000,,experience with the FBI. He's gonna share\Nwith us the way he informs the FBI about
Dialogue: 0,0:00:42.74,0:00:49.09,Default,,0000,0000,0000,,his behaviors. So it's not just like in\Ncycling or other sports but ... I don't
Dialogue: 0,0:00:49.09,0:00:55.69,Default,,0000,0000,0000,,know what sport you do, Hasan. But these\Neasy sports men in communication with FBI.
Dialogue: 0,0:00:55.69,0:01:08.16,Default,,0000,0000,0000,,Please give a welcome applause ... Yes!\NLast are the best. Oh sorry ...
Dialogue: 0,0:01:08.16,0:01:11.92,Default,,0000,0000,0000,,Hasan: That's pointing to me. The arrow\Nwill start making sense. Really I mean
Dialogue: 0,0:01:11.92,0:01:15.71,Default,,0000,0000,0000,,... How amazing has it been the last few\Ndays here, right? It's been this ...
Dialogue: 0,0:01:15.71,0:01:19.25,Default,,0000,0000,0000,,amazingly intense last few days and it's\Nkind of ... You know it's, it's an honor
Dialogue: 0,0:01:19.25,0:01:23.53,Default,,0000,0000,0000,,to kind of wrap this up and I really\Nappreciate you guys hanging out here till
Dialogue: 0,0:01:23.53,0:01:28.48,Default,,0000,0000,0000,,the very very very last time slot. Thank\Nyou, thank you for coming. This is ... it
Dialogue: 0,0:01:28.48,0:01:32.15,Default,,0000,0000,0000,,means a lot. I've been hearing a lot\Nabout this Congress for many years and
Dialogue: 0,0:01:32.15,0:01:36.40,Default,,0000,0000,0000,,this is my first time here and it's just\N... you know, I was just telling some
Dialogue: 0,0:01:36.40,0:01:42.10,Default,,0000,0000,0000,,friends that I consider myself relatively\Ntech literate and then I come here and I
Dialogue: 0,0:01:42.10,0:01:45.10,Default,,0000,0000,0000,,feel like everyone speaking a completely\Ndifferent foreign language that I have no
Dialogue: 0,0:01:45.10,0:01:48.59,Default,,0000,0000,0000,,idea what's happening. And it's not\Nbecause some of the talks are in German.
Dialogue: 0,0:01:48.59,0:01:53.54,Default,,0000,0000,0000,,It's like literally like some of the\Nsubject matter is so specific that it's
Dialogue: 0,0:01:53.54,0:01:58.73,Default,,0000,0000,0000,,so easy to be completely like: What is\Nbeing discussed? So I'm gonna tell you,
Dialogue: 0,0:01:58.73,0:02:03.86,Default,,0000,0000,0000,,it's something a little bit more ... you\Nknow, a little more of a story and kind of
Dialogue: 0,0:02:03.86,0:02:09.20,Default,,0000,0000,0000,,tell you about what I've been doing. So\NI'm an artist and I get called all sorts
Dialogue: 0,0:02:09.20,0:02:11.92,Default,,0000,0000,0000,,of different things I get ... You know,\Nsometimes I get lumped in with the media
Dialogue: 0,0:02:11.92,0:02:16.38,Default,,0000,0000,0000,,artists, sometimes with sculptor,\Nsometimes with photographers, sometimes I
Dialogue: 0,0:02:16.38,0:02:24.08,Default,,0000,0000,0000,,get called a con artist. But so ... so\Nit's kind of odd being in this, being in
Dialogue: 0,0:02:24.08,0:02:28.30,Default,,0000,0000,0000,,this gatherings. Particularly after some\Nof the other talks that I've been sitting
Dialogue: 0,0:02:28.30,0:02:32.42,Default,,0000,0000,0000,,in on. But let me tell you a little bit\Nabout how this thing came about, this
Dialogue: 0,0:02:32.42,0:02:38.42,Default,,0000,0000,0000,,thing with the arrow. By the way I'm at\Nelahi.org or elahi.umd.edu. I'll show you
Dialogue: 0,0:02:38.42,0:02:42.18,Default,,0000,0000,0000,,some of my works but mainly I'll be\Nfocusing on this one project which is
Dialogue: 0,0:02:42.18,0:02:47.71,Default,,0000,0000,0000,,called Tracking Transience which I\Nstarted shortly after 9/11. So let me just
Dialogue: 0,0:02:47.71,0:02:51.07,Default,,0000,0000,0000,,give you a live feed of what it looks\Nlike. So this is, this is it. So you can
Dialogue: 0,0:02:51.07,0:02:55.98,Default,,0000,0000,0000,,go on the web and you could follow me at\Nany given moment. And there's this pixel,
Dialogue: 0,0:02:55.98,0:02:58.96,Default,,0000,0000,0000,,this arrow that comes here, which is actually...\NThese days we're so used to seeing
Dialogue: 0,0:02:58.96,0:03:05.05,Default,,0000,0000,0000,,ourselves as pixels on a map. But this\Nproject was started 2002 and back then to
Dialogue: 0,0:03:05.05,0:03:09.36,Default,,0000,0000,0000,,see yourself as a pixel was just such an\Nunusual thing. I mean, these days we ...
Dialogue: 0,0:03:09.36,0:03:13.01,Default,,0000,0000,0000,,You know, these days you're driving down\Nthe road and there's that little icon on
Dialogue: 0,0:03:13.01,0:03:17.81,Default,,0000,0000,0000,,the GPS, that tells you exactly where you\Nare. Or you know the ... I mean like, you
Dialogue: 0,0:03:17.81,0:03:20.76,Default,,0000,0000,0000,,know, like when was the last time you\Nbought one of those maps at the gas
Dialogue: 0,0:03:20.76,0:03:24.99,Default,,0000,0000,0000,,station? You opened it up ... Do you\Nremember that? I mean, we don't ... it's
Dialogue: 0,0:03:24.99,0:03:28.05,Default,,0000,0000,0000,,just like we just completely lost that. We\Ncan't even know how to fold a map back up
Dialogue: 0,0:03:28.05,0:03:31.43,Default,,0000,0000,0000,,anymore. You know, cuz back in the old\Ndays you'd have to take out that map and
Dialogue: 0,0:03:31.43,0:03:37.18,Default,,0000,0000,0000,,you'd go: "We're here!" So you'd have to\Nlocate yourself to the geography within
Dialogue: 0,0:03:37.18,0:03:41.80,Default,,0000,0000,0000,,that map. These days, you take out that\Nmagic phone, you press that little button,
Dialogue: 0,0:03:41.80,0:03:45.65,Default,,0000,0000,0000,,and you become the center of your own\Nmap. And your ... the map resizes to you.
Dialogue: 0,0:03:45.65,0:03:49.44,Default,,0000,0000,0000,,So the space of the ... So looking at\Nyourself as a digital space versus a
Dialogue: 0,0:03:49.44,0:03:53.00,Default,,0000,0000,0000,,physical space. You know it's, it's a\Ntotally different concept that we're
Dialogue: 0,0:03:53.00,0:03:57.87,Default,,0000,0000,0000,,running into now and for some reason this\Nlooks like this got caught up over here.
Dialogue: 0,0:03:57.87,0:04:02.50,Default,,0000,0000,0000,,So let's give it another kick. And\Nhopefully it'll kick in again.
Dialogue: 0,0:04:02.50,0:04:09.06,Default,,0000,0000,0000,,Okay. So, that's, that's, so this is, this is where\NI started. So the project starts here.
Dialogue: 0,0:04:09.06,0:04:12.51,Default,,0000,0000,0000,,And you know, then this goes through the\Ncycles of everything that I eat and ...
Dialogue: 0,0:04:12.51,0:04:15.76,Default,,0000,0000,0000,,You know, let's see what comes up after\Nthis. You know, you can probably see where
Dialogue: 0,0:04:15.76,0:04:18.79,Default,,0000,0000,0000,,this place is. You probably recognize\Nthat. So these are all the meals that
Dialogue: 0,0:04:18.79,0:04:22.48,Default,,0000,0000,0000,,I've been cooking at home. And I photograph \Nall of them. It's just kind of interesting.
Dialogue: 0,0:04:22.48,0:04:24.82,Default,,0000,0000,0000,,As now it's like it's so common\Non Instagram, it's like, you know, if
Dialogue: 0,0:04:24.82,0:04:28.46,Default,,0000,0000,0000,,people think that you know, well, why else\Nwould you be using Instagram other than
Dialogue: 0,0:04:28.46,0:04:33.84,Default,,0000,0000,0000,,posting photos of your food? But I help\Nout the FBI with this. So I sent this ...
Dialogue: 0,0:04:33.84,0:04:37.66,Default,,0000,0000,0000,,So this was on Friday December 4th. This\Nwas at the corner of Santa Clara and 11th
Dialogue: 0,0:04:37.66,0:04:43.38,Default,,0000,0000,0000,,in San Jose. I got, I bought gas there.\NThis is at the Gimhae Airport in Busan.
Dialogue: 0,0:04:43.38,0:04:47.36,Default,,0000,0000,0000,,This is some tripe, that I've cooked at\Nhome. Because I really like tripe.
Dialogue: 0,0:04:47.36,0:04:52.71,Default,,0000,0000,0000,,This is, this is actually the Barack Hussein\NObama School in Jakarta, Indonesia,
Dialogue: 0,0:04:52.71,0:04:59.59,Default,,0000,0000,0000,,1st March. This is, this is, ... Sorry, this is\Ngoing so fast. So every few moments, what
Dialogue: 0,0:04:59.59,0:05:02.79,Default,,0000,0000,0000,,I do is: I take a photograph and I\Ntimestamp my life and I send it to the
Dialogue: 0,0:05:02.79,0:05:08.26,Default,,0000,0000,0000,,FBI. And, well you know, it's ... And\Nit's also kind of interesting. Because
Dialogue: 0,0:05:08.26,0:05:11.87,Default,,0000,0000,0000,,these days, the project means something\Nso different. When I first started this
Dialogue: 0,0:05:11.87,0:05:15.71,Default,,0000,0000,0000,,project, people would be like: "Oh no no,\Ndon't show up at my house!" And now it's
Dialogue: 0,0:05:15.71,0:05:19.14,Default,,0000,0000,0000,,like - You know, it's not like if you're\Ndon't, if you're not on social media, if
Dialogue: 0,0:05:19.14,0:05:23.56,Default,,0000,0000,0000,,you're not connected, like people think of\Nyou are some, some weirdo or something.
Dialogue: 0,0:05:23.56,0:05:30.28,Default,,0000,0000,0000,,So what happens here is that this thing of\Nlike continuously, continuously
Dialogue: 0,0:05:30.28,0:05:34.30,Default,,0000,0000,0000,,monitoring myself and continuously\Nchecking in ... You know, now a lot of
Dialogue: 0,0:05:34.30,0:05:37.13,Default,,0000,0000,0000,,people are like: "I don't get this. This\Nlooks like my Instagram feed. What's the
Dialogue: 0,0:05:37.13,0:05:42.85,Default,,0000,0000,0000,,big deal?" But then this concept of self-\Nsurveillance or this, this watching
Dialogue: 0,0:05:42.85,0:05:48.98,Default,,0000,0000,0000,,ourselves or monitoring ourselves for the\Nsake of someone else, whether it be your
Dialogue: 0,0:05:48.98,0:05:52.81,Default,,0000,0000,0000,,Twitter followers or in my case the FBI\N... I mean, this is something that's
Dialogue: 0,0:05:52.81,0:05:58.12,Default,,0000,0000,0000,,become so commonplace. And each of us are\Ncreating our own archives. So a lot of
Dialogue: 0,0:05:58.12,0:06:01.22,Default,,0000,0000,0000,,the shifts that's taking place culturally\N- I think it's really important to think
Dialogue: 0,0:06:01.22,0:06:04.58,Default,,0000,0000,0000,,about this, because, you know, it's like,\Nlike this bed. I mean, you're not really
Dialogue: 0,0:06:04.58,0:06:08.44,Default,,0000,0000,0000,,sure what happened in that bed. You're\Nnot really sure who I was there with. Or
Dialogue: 0,0:06:08.44,0:06:11.79,Default,,0000,0000,0000,,you see these like random train stations.\NThere are always these empty spaces.
Dialogue: 0,0:06:11.79,0:06:14.80,Default,,0000,0000,0000,,There's like ... no one's ever there, and\Nevery now and then you might see some
Dialogue: 0,0:06:14.80,0:06:18.10,Default,,0000,0000,0000,,people. But they just, they just tend to\Nbe incidental to the image.
Dialogue: 0,0:06:18.10,0:06:21.26,Default,,0000,0000,0000,,Which is kind of interesting when you look at \Nlike the "no photography" or the
Dialogue: 0,0:06:21.26,0:06:22.26,Default,,0000,0000,0000,,"ask permission
Dialogue: 0,0:06:22.26,0:06:25.69,Default,,0000,0000,0000,,of people that are in there" Which is\Nreally amazing to think about. That like
Dialogue: 0,0:06:25.69,0:06:30.79,Default,,0000,0000,0000,,how many cameras are there in every given\Nmoment? Actually in this room, right now,
Dialogue: 0,0:06:30.79,0:06:37.09,Default,,0000,0000,0000,,they're at least twice as many cameras as\Nthere are people. Because there's one
Dialogue: 0,0:06:37.09,0:06:40.78,Default,,0000,0000,0000,,camera in the front of your phone and\Nanother one in the back of your phone. And
Dialogue: 0,0:06:40.78,0:06:45.25,Default,,0000,0000,0000,,who knows how many other cameras in, in\Nall the other devices and everything else
Dialogue: 0,0:06:45.25,0:06:49.48,Default,,0000,0000,0000,,that we are putting in. So we can't\Nreally escape these cameras, regardless of
Dialogue: 0,0:06:49.48,0:06:55.09,Default,,0000,0000,0000,,what we do. And so all of these things,\Nall these bits and pieces that I'm
Dialogue: 0,0:06:55.09,0:06:59.67,Default,,0000,0000,0000,,archiving of my life. So every few moments\Nanother photo gets put up and it gets
Dialogue: 0,0:06:59.67,0:07:03.48,Default,,0000,0000,0000,,tagged with the geo tag of where it was.\NAgain this is something that's so common
Dialogue: 0,0:07:03.48,0:07:08.34,Default,,0000,0000,0000,,today but 12, 13, 14 years ago this was\Ncompletely just like: "What are you doing
Dialogue: 0,0:07:08.34,0:07:11.56,Default,,0000,0000,0000,,and why are you doing this?"
Dialogue: 0,0:07:11.56,0:07:16.40,Default,,0000,0000,0000,,And ...\Nsorry ... So yeah, and then of course
Dialogue: 0,0:07:16.40,0:07:20.71,Default,,0000,0000,0000,,there's all these toilets because, uh, my\NFBI agent really needs to know. I figure
Dialogue: 0,0:07:20.71,0:07:24.55,Default,,0000,0000,0000,,the FBI, that ... You know, they want to\Nknow my business and I'm very open and I'm
Dialogue: 0,0:07:24.55,0:07:27.38,Default,,0000,0000,0000,,very sharing. So I figure, I'm gonna tell\Nthem every little bit of detail,
Dialogue: 0,0:07:27.38,0:07:32.68,Default,,0000,0000,0000,,including the toilets that I use and how\Nfrequently and where I go. You know, they
Dialogue: 0,0:07:32.68,0:07:36.73,Default,,0000,0000,0000,,need to know, so! Really, what's\Nhappening, you know and, and what I'm
Dialogue: 0,0:07:36.73,0:07:40.70,Default,,0000,0000,0000,,really, what I'm really doing is: I'm,\Nit's, it's a matter of telling you
Dialogue: 0,0:07:40.70,0:07:44.79,Default,,0000,0000,0000,,everything and telling you absolutely\Nnothing simultaneously. It's a barrage of
Dialogue: 0,0:07:44.79,0:07:50.03,Default,,0000,0000,0000,,noise. Look, I know that eventually, you\Nknow, machine and AI machine readers and
Dialogue: 0,0:07:50.03,0:07:55.63,Default,,0000,0000,0000,,AI is going to get so, so sophisticated,\Nthat at a certain point this idea of
Dialogue: 0,0:07:55.63,0:08:00.55,Default,,0000,0000,0000,,overwhelming the system, it's not going\Nto be possible. This is a temporary fix.
Dialogue: 0,0:08:00.55,0:08:07.64,Default,,0000,0000,0000,,And the reason I chose this fix is, you\Nknow, obviously the FBI has a file on me.
Dialogue: 0,0:08:07.64,0:08:12.63,Default,,0000,0000,0000,,By the way, the background story of this\Nis: I got reported as a terrorist.
Dialogue: 0,0:08:12.63,0:08:18.56,Default,,0000,0000,0000,,I guess, I should probably explain on that\Na little bit. So shortly after 9/11, my
Dialogue: 0,0:08:18.56,0:08:24.03,Default,,0000,0000,0000,,landlords, that I rented this storage\Nspace from, called the police and said,
Dialogue: 0,0:08:24.03,0:08:27.68,Default,,0000,0000,0000,,that an Arab man had fled on September\N12th, who is hoarding explosives.
Dialogue: 0,0:08:27.68,0:08:30.61,Default,,0000,0000,0000,,Never mind. There were no explosives.\NNever mind,
Dialogue: 0,0:08:30.61,0:08:33.23,Default,,0000,0000,0000,,it wasn't an Arab man. \NBut you know, that Arab man
Dialogue: 0,0:08:33.23,0:08:36.37,Default,,0000,0000,0000,,would be me. Even though\NI'm Bengali and we're actually not Arabs.
Dialogue: 0,0:08:36.37,0:08:39.95,Default,,0000,0000,0000,,But it doesn't matter because as far as\Nmany people ... You know, they're all the
Dialogue: 0,0:08:39.95,0:08:43.70,Default,,0000,0000,0000,,same over there. They're all kind of fun.\NYou know, that's, it's, it's that mentality
Dialogue: 0,0:08:43.70,0:08:47.08,Default,,0000,0000,0000,,So I spent six months of my\Nlife with the FBI, convincing them that
Dialogue: 0,0:08:47.08,0:08:51.90,Default,,0000,0000,0000,,I'm not a terrorist. And after all that\Nthey said: "Okay, everything's great,
Dialogue: 0,0:08:51.90,0:08:53.93,Default,,0000,0000,0000,,you're fine", and I said: "Okay,\Nwonderful, can I get a letter saying :
Dialogue: 0,0:08:53.93,0:08:58.76,Default,,0000,0000,0000,,I'm fine?" There's a little problem with\Nthat, because have you ever tried to get
Dialogue: 0,0:08:58.76,0:09:03.78,Default,,0000,0000,0000,,something that says: "You're not guilty\Nof something you never did"? So you know,
Dialogue: 0,0:09:03.78,0:09:07.97,Default,,0000,0000,0000,,so ever since then I've been with my FBI\Nagent. I said: "Hey, what can I do? I
Dialogue: 0,0:09:07.97,0:09:10.69,Default,,0000,0000,0000,,mean, I travel a lot. All we need is the\Nnext guy not to get the next memo and
Dialogue: 0,0:09:10.69,0:09:14.49,Default,,0000,0000,0000,,here we go all over again. How do I avoid\Nthis?" So at that moment he gave me a
Dialogue: 0,0:09:14.49,0:09:17.49,Default,,0000,0000,0000,,phone. He says: "Here's some phone\Nnumbers. If you get into trouble, give us
Dialogue: 0,0:09:17.49,0:09:20.67,Default,,0000,0000,0000,,a call. We'll take care of it." So ever\Nsince then I would call my FBI agent,
Dialogue: 0,0:09:20.67,0:09:24.17,Default,,0000,0000,0000,,tell him where I was going, send him\Nphotos to all of these things, and thus
Dialogue: 0,0:09:24.17,0:09:27.54,Default,,0000,0000,0000,,that's what this whole project started. In\Na ... I mean back then when I started this
Dialogue: 0,0:09:27.54,0:09:30.94,Default,,0000,0000,0000,,project, shortly after 9/11, I mean, my\Nphone was like those old ... Remember
Dialogue: 0,0:09:30.94,0:09:34.84,Default,,0000,0000,0000,,those old Nokia 6600? Those like super\Nchunky ones and you had to hit the buttons
Dialogue: 0,0:09:34.84,0:09:38.16,Default,,0000,0000,0000,,like a whole bunch of times to send like\None text message across? And we should
Dialogue: 0,0:09:38.16,0:09:41.87,Default,,0000,0000,0000,,call them smart phones back then. I mean,\Nthey're really not that smart, but
Dialogue: 0,0:09:41.87,0:09:46.17,Default,,0000,0000,0000,,they're kind of smart phones. Anyway. So\Nthis process of like sending all this
Dialogue: 0,0:09:46.17,0:09:50.23,Default,,0000,0000,0000,,information to the FBI. I started telling\Nthem everything. And also at the same
Dialogue: 0,0:09:50.23,0:09:53.57,Default,,0000,0000,0000,,time by telling them everything I'm also\Ntelling them absoutely nothing because
Dialogue: 0,0:09:53.57,0:09:58.50,Default,,0000,0000,0000,,it's just a wall of noise. And in that\Nnoise there is some signal and the ratio,
Dialogue: 0,0:09:58.50,0:10:03.75,Default,,0000,0000,0000,,the signal-to-noise ratio, is actually\Npretty skewed. It's pretty, it's pretty
Dialogue: 0,0:10:03.75,0:10:07.99,Default,,0000,0000,0000,,out of sync in that sense. Because it's,\Nit's difficult for the, for the viewer to
Dialogue: 0,0:10:07.99,0:10:12.02,Default,,0000,0000,0000,,know what they're looking at. So if you\Ndon't s–. That website, it's a, it's, it
Dialogue: 0,0:10:12.02,0:10:16.36,Default,,0000,0000,0000,,is an archaic website. I mean, it is\Ncompletely obsolete technologically, but
Dialogue: 0,0:10:16.36,0:10:20.90,Default,,0000,0000,0000,,more importantly, it's also one of these\Nthings, it's, it's intentionally user-
Dialogue: 0,0:10:20.90,0:10:24.65,Default,,0000,0000,0000,,unfriendly. It's not, you know,\Ninformation is not categorized in a way
Dialogue: 0,0:10:24.65,0:10:27.83,Default,,0000,0000,0000,,where, you know, "oh, I want to see this\Ndata this time". It's like, it's just, it
Dialogue: 0,0:10:27.83,0:10:31.73,Default,,0000,0000,0000,,just comes in it, whichever way it, the,\Nthe algorithm these days feels like
Dialogue: 0,0:10:31.73,0:10:34.68,Default,,0000,0000,0000,,generating the, the info. So sometimes\Nyou might see a taco, then you might see
Dialogue: 0,0:10:34.68,0:10:38.64,Default,,0000,0000,0000,,the next one from Mexico City, then\NMexico City might go to like this place
Dialogue: 0,0:10:38.64,0:10:41.64,Default,,0000,0000,0000,,because I took a flight from there to\NHouston. So you might get some images
Dialogue: 0,0:10:41.64,0:10:44.65,Default,,0000,0000,0000,,from Houston next. And then from Houston\Nyou might get some things from another
Dialogue: 0,0:10:44.65,0:10:49.66,Default,,0000,0000,0000,,city in the back and forth. So it actually\Ntakes all these pathways various through
Dialogue: 0,0:10:49.66,0:10:54.07,Default,,0000,0000,0000,,it. So in this process I'm really, you\Nknow, it's, it's, I'm telling you
Dialogue: 0,0:10:54.07,0:10:57.89,Default,,0000,0000,0000,,everything and nothing in this\Ncamouflage. In this, you know, thing of,
Dialogue: 0,0:10:57.89,0:11:02.72,Default,,0000,0000,0000,,like, you know, historic camouflage. Now\Nthe concept of camouflage particularly in
Dialogue: 0,0:11:02.72,0:11:08.15,Default,,0000,0000,0000,,digital identity is really important.\NBecause historically, when you hear
Dialogue: 0,0:11:08.15,0:11:13.43,Default,,0000,0000,0000,,camouflage, it's usually meant for, you\Nknow, warfare, battle, soldiers. And the
Dialogue: 0,0:11:13.43,0:11:18.50,Default,,0000,0000,0000,,reason we have, the reason, camouflage\Nlooks at certain ways, because it was
Dialogue: 0,0:11:18.50,0:11:23.08,Default,,0000,0000,0000,,designed to break the silhouette of the\Nbody of the soldier in the battlefield,
Dialogue: 0,0:11:23.08,0:11:29.70,Default,,0000,0000,0000,,in the landscape of warfare. So this is\Nwhy, you know, certain trees look certain
Dialogue: 0,0:11:29.70,0:11:33.41,Default,,0000,0000,0000,,colors and when you look, you know, it's\Nevery place you go, there's a different
Dialogue: 0,0:11:33.41,0:11:40.22,Default,,0000,0000,0000,,war. Each, with each war, there's a\Ndifferent pattern, that, that's used. Now
Dialogue: 0,0:11:40.22,0:11:43.10,Default,,0000,0000,0000,,if you look at the new camouflage, that\Nmost troops are wearing, particularly in
Dialogue: 0,0:11:43.10,0:11:49.24,Default,,0000,0000,0000,,the US, where I live, it's all pixeled,\Nit's all pixelized, you know, it's all,
Dialogue: 0,0:11:49.24,0:11:54.25,Default,,0000,0000,0000,,and it's all this, like, weirdly grayish,\Ngreenish color. I don't know if you've
Dialogue: 0,0:11:54.25,0:12:00.22,Default,,0000,0000,0000,,noticed that color. But there's no trees\Nthat color anywhere. It's because it's
Dialogue: 0,0:12:00.22,0:12:05.61,Default,,0000,0000,0000,,not meant for blending into the landscape\Nanymore. It's no longer meant so the
Dialogue: 0,0:12:05.61,0:12:11.76,Default,,0000,0000,0000,,soldier has to blend into the\Nbattlefield. The reason it's pixelized and
Dialogue: 0,0:12:11.76,0:12:17.64,Default,,0000,0000,0000,,it's that grayish, greenish color is\Nbecause we no longer have a need for the
Dialogue: 0,0:12:17.64,0:12:22.80,Default,,0000,0000,0000,,soldier to blend in to the battlefield,\Nthe physical battlefield. But what we want
Dialogue: 0,0:12:22.80,0:12:30.02,Default,,0000,0000,0000,,is the soldier to be, so the enemy cannot\Ndistinguish the physical body of the
Dialogue: 0,0:12:30.02,0:12:35.48,Default,,0000,0000,0000,,soldier in the noise and the night-vision\Ngoggles. That's why it's that color.
Dialogue: 0,0:12:35.48,0:12:41.10,Default,,0000,0000,0000,,That's why it's that grayish green. So this\Nis a huge step. So we no longer, it's no
Dialogue: 0,0:12:41.10,0:12:45.94,Default,,0000,0000,0000,,longer about the physical presence of the\Nbody in the, in the war field, in the, in
Dialogue: 0,0:12:45.94,0:12:51.95,Default,,0000,0000,0000,,warfare. But it's now about the, it's now\Nwhere the, the digital body, that the
Dialogue: 0,0:12:51.95,0:12:58.03,Default,,0000,0000,0000,,physical body is intentionally\Ncamouflaged and mistaken for a digital
Dialogue: 0,0:12:58.03,0:13:04.03,Default,,0000,0000,0000,,artifact. It's that pixelization, that we've forced basically in
Dialogue: 0,0:13:04.03,0:13:07.12,Default,,0000,0000,0000,,warfare. And a lot of work, that I do,\Nwith a lot of, a lot of the art, that I
Dialogue: 0,0:13:07.12,0:13:11.16,Default,,0000,0000,0000,,come up with, comes out of warfare and\Nsuch. And I'll show you a little. But this
Dialogue: 0,0:13:11.16,0:13:14.37,Default,,0000,0000,0000,,is a really important piece, that I\Nwanted to talk to you about. Because this
Dialogue: 0,0:13:14.37,0:13:20.17,Default,,0000,0000,0000,,was taken from one of the earliest samples\Nof what the US Army uses. And it was done
Dialogue: 0,0:13:20.17,0:13:24.64,Default,,0000,0000,0000,,at the, at the base, at Natick, which is\Nthe, outside of Boston. This is where a
Dialogue: 0,0:13:24.64,0:13:27.98,Default,,0000,0000,0000,,lot of the camouflage in the US is\Ndesigned. It's the US Army's fashion
Dialogue: 0,0:13:27.98,0:13:32.64,Default,,0000,0000,0000,,design department. Though they would never\Ncall it the fashion design department. But
Dialogue: 0,0:13:32.64,0:13:36.43,Default,,0000,0000,0000,,this is where they design all the\Ncamouflage and the, and the outfits. And
Dialogue: 0,0:13:36.43,0:13:40.59,Default,,0000,0000,0000,,so this sample was taken ... At first, it\Njust looks like a modernist grid. Various
Dialogue: 0,0:13:40.59,0:13:43.02,Default,,0000,0000,0000,,photographs and such. But what they\Nreally are, is ... I took the old sample
Dialogue: 0,0:13:43.02,0:13:49.52,Default,,0000,0000,0000,,and I blew it out and took out each pixel\Nand replaced each pixel with a photograph
Dialogue: 0,0:13:49.52,0:13:53.48,Default,,0000,0000,0000,,of a historic or current point of\Nconflict. So there's these two images
Dialogue: 0,0:13:53.48,0:13:58.30,Default,,0000,0000,0000,,right in the middle. If you look. The two\Nblue images over there, kind of in the
Dialogue: 0,0:13:58.30,0:14:05.91,Default,,0000,0000,0000,,middle to the bottom, those are in North\NKorea. Those are north the 38th parallel.
Dialogue: 0,0:14:05.91,0:14:09.07,Default,,0000,0000,0000,,That could technically, north the\Nparallel. So you're actually in North
Dialogue: 0,0:14:09.07,0:14:13.15,Default,,0000,0000,0000,,Korean territory, but at Panmunjom.\NThere's actually six buildings and three
Dialogue: 0,0:14:13.15,0:14:18.39,Default,,0000,0000,0000,,... And all six are built directly across\Nthe border. And, you know, it's kind of
Dialogue: 0,0:14:18.39,0:14:22.48,Default,,0000,0000,0000,,unpractical to share half the building\Nwith another country. So three of the
Dialogue: 0,0:14:22.48,0:14:25.95,Default,,0000,0000,0000,,buildings belong to South Korea, three of\Nthem belong to North Korea. So these were
Dialogue: 0,0:14:25.95,0:14:29.58,Default,,0000,0000,0000,,the South Korean buildings. But physically\Nin North Korean territory. Similar like
Dialogue: 0,0:14:29.58,0:14:33.11,Default,,0000,0000,0000,,that plate of ham that you see right\Nbelow it, you know, it's a Spanish ham.
Dialogue: 0,0:14:33.11,0:14:37.82,Default,,0000,0000,0000,,And being a good Muslim, I really do\Nenjoy my Spanish ham. But this was, this
Dialogue: 0,0:14:37.82,0:14:43.05,Default,,0000,0000,0000,,was photographed in Guernica, the site of\Na brutal massacre. Shortly ... you know,
Dialogue: 0,0:14:43.05,0:14:45.79,Default,,0000,0000,0000,,so similarly, so each of the, every\Nsingle one of these images, they might
Dialogue: 0,0:14:45.79,0:14:50.88,Default,,0000,0000,0000,,seem like these generic or bland images,\Nbut they're all historic conflicts or
Dialogue: 0,0:14:50.88,0:14:54.38,Default,,0000,0000,0000,,current conflicts. There's, there's an\Nimage in the, in the upper right hand, in
Dialogue: 0,0:14:54.38,0:14:58.86,Default,,0000,0000,0000,,the upper left hand corner, right there,\Nand it's, it's of an office building with
Dialogue: 0,0:14:58.86,0:15:05.36,Default,,0000,0000,0000,,just a flag with three stripes going\Nacross. And this is like a quick world
Dialogue: 0,0:15:05.36,0:15:10.39,Default,,0000,0000,0000,,affairs quiz. Which country has, has a\Nflag that goes three horizontal stripes
Dialogue: 0,0:15:10.39,0:15:16.94,Default,,0000,0000,0000,,across, the top and bottom are red, and\Nthe middle one is green? Any guesses on
Dialogue: 0,0:15:16.94,0:15:30.86,Default,,0000,0000,0000,,this country? Three stripes, red, green,\Nred. Lots of confused looks,. Huh? ...
Dialogue: 0,0:15:30.86,0:15:34.95,Default,,0000,0000,0000,,It's, it's a trick question. The country\Ndoesn't exist. It's a, it's Transnistria
Dialogue: 0,0:15:34.95,0:15:39.67,Default,,0000,0000,0000,,or at least the Russians call it\NPridnestrovia. And it's a breakaway
Dialogue: 0,0:15:39.67,0:15:43.50,Default,,0000,0000,0000,,republic of Moldova, it's a tiny little\Nsliver of land between Moldova and
Dialogue: 0,0:15:43.50,0:15:49.93,Default,,0000,0000,0000,,Ukraine. Maybe about 20, 30 kilometers\Nwide and maybe about 200 kilometers long.
Dialogue: 0,0:15:49.93,0:15:54.47,Default,,0000,0000,0000,,This tiny, tiny, tiny sliver ... no one\N... They have it, well, by the way, they
Dialogue: 0,0:15:54.47,0:15:58.03,Default,,0000,0000,0000,,have their own military, they have their\Nown passports, they have their own
Dialogue: 0,0:15:58.03,0:16:01.82,Default,,0000,0000,0000,,currency, they have their own judicial\Nsystem, they've their own everything. Like
Dialogue: 0,0:16:01.82,0:16:08.92,Default,,0000,0000,0000,,a country, except no one recognizes them\Nas a country. But if you need to go buy 20
Dialogue: 0,0:16:08.92,0:16:13.83,Default,,0000,0000,0000,,cases of AK-47s, this is the place to go.\NSo this is, this tiny piece of land, this
Dialogue: 0,0:16:13.83,0:16:19.85,Default,,0000,0000,0000,,tiny piece of land, that no one\Nrecognizes, is really where a lot of the
Dialogue: 0,0:16:19.85,0:16:24.20,Default,,0000,0000,0000,,destabilization of the world comes from.\NSo I went over there and then of course I
Dialogue: 0,0:16:24.20,0:16:27.14,Default,,0000,0000,0000,,would tell my FBI agent: "This is where I\Nwas going, just loitering." He was like:
Dialogue: 0,0:16:27.14,0:16:29.80,Default,,0000,0000,0000,,"What are you doing over there?" So I\Nsaid: "I'm just hanging out, just seeing
Dialogue: 0,0:16:29.80,0:16:34.31,Default,,0000,0000,0000,,what's going on." Anyway. So again, all\Nof the, every single one of these images,
Dialogue: 0,0:16:34.31,0:16:37.56,Default,,0000,0000,0000,,there's bits and pieces of these types of\Nsource ... But I want to go back at the
Dialogue: 0,0:16:37.56,0:16:44.11,Default,,0000,0000,0000,,state of warfare and talk to you a little\Nbit about that. So, I live in the US. And
Dialogue: 0,0:16:44.11,0:16:47.53,Default,,0000,0000,0000,,you know, it's we're, you know, currently\Nat the war on terror. Actually the, the
Dialogue: 0,0:16:47.53,0:16:54.11,Default,,0000,0000,0000,,real name is the Global War on Terror. And\Nthis was a drawing that I did for a
Dialogue: 0,0:16:54.11,0:17:00.41,Default,,0000,0000,0000,,project a few years ago. And there's a,\Nthere's a congressional document. So
Dialogue: 0,0:17:00.41,0:17:04.94,Default,,0000,0000,0000,,there's this document, that the US\NCongress keeps, and it's called the
Dialogue: 0,0:17:04.94,0:17:10.57,Default,,0000,0000,0000,,"Instances of Use of United States Armed\NForces Abroad", this time was 1798 to
Dialogue: 0,0:17:10.57,0:17:15.90,Default,,0000,0000,0000,,2006. This gets updated every year. And\Ninterestingly enough, when you look at
Dialogue: 0,0:17:15.90,0:17:20.04,Default,,0000,0000,0000,,this document, it's ... everything is just\Nthe facts, everything is, you know, in
Dialogue: 0,0:17:20.04,0:17:26.53,Default,,0000,0000,0000,,1838, you know, Marines chased pirates\Nonto a Caribbean island. Well, when the
Dialogue: 0,0:17:26.53,0:17:30.36,Default,,0000,0000,0000,,Marines landed on that Caribbean island,\Nwe invaded that country. Any time you send
Dialogue: 0,0:17:30.36,0:17:34.68,Default,,0000,0000,0000,,your troops on to another country soil\Nwithout that country's permission, you
Dialogue: 0,0:17:34.68,0:17:38.65,Default,,0000,0000,0000,,have invaded that country. So everything\Nfrom like, you know, Marines chasing
Dialogue: 0,0:17:38.65,0:17:43.75,Default,,0000,0000,0000,,pirates to a Caribbean island all the way\Nto World War One, it's all just one,
Dialogue: 0,0:17:43.75,0:17:47.10,Default,,0000,0000,0000,,everything's just listed as one instance,\Njust straight down like ... And this, and
Dialogue: 0,0:17:47.10,0:17:51.64,Default,,0000,0000,0000,,it's just, goes on for pages and pages and\Npages and pages and pages and, you know,
Dialogue: 0,0:17:51.64,0:17:56.38,Default,,0000,0000,0000,,so and then you look at it like: "Wait.\NWhen, when did, when did the US invade
Dialogue: 0,0:17:56.38,0:18:01.90,Default,,0000,0000,0000,,Florida?" Well, that was when it was Spanish\Nterritory, this is a, you know, before
Dialogue: 0,0:18:01.90,0:18:04.92,Default,,0000,0000,0000,,that became part of United States\Nsimilarly, you know ... So when you look
Dialogue: 0,0:18:04.92,0:18:10.05,Default,,0000,0000,0000,,at it, all the white X's are all the\Ninvasions, that the US has undertaken
Dialogue: 0,0:18:10.05,0:18:16.10,Default,,0000,0000,0000,,between 1776, which was the year of the\Nindependence, to World War One. All the
Dialogue: 0,0:18:16.10,0:18:22.66,Default,,0000,0000,0000,,gray X's are World War One to Vietnam. And\Nall the black X's are Vietnam to today.
Dialogue: 0,0:18:22.66,0:18:29.86,Default,,0000,0000,0000,,The number of invasions, that the US\Ntroops have undertaken between 1776 and
Dialogue: 0,0:18:29.86,0:18:35.76,Default,,0000,0000,0000,,World War One, roughly equate the same\Namount as World War One to Vietnam. And
Dialogue: 0,0:18:35.76,0:18:42.71,Default,,0000,0000,0000,,the number of invasions from 1776\Nto Vietnam roughly equate Vietnam to
Dialogue: 0,0:18:42.71,0:18:51.21,Default,,0000,0000,0000,,today. In the last 100 years, in the last\N117 years, since 1900, there's only
Dialogue: 0,0:18:51.21,0:18:55.63,Default,,0000,0000,0000,,been five years, where the US has not\Nbeen at war. Interestingly enough, we've
Dialogue: 0,0:18:55.63,0:19:01.03,Default,,0000,0000,0000,,only declared war 11 times in history.\NSince independence of the country, the US
Dialogue: 0,0:19:01.03,0:19:08.08,Default,,0000,0000,0000,,has only formally declared war 11 times.\NYet of the all the years, that we've ever
Dialogue: 0,0:19:08.08,0:19:13.10,Default,,0000,0000,0000,,been an independent country, like there's\Nonly like 20 or 30 years, that we haven't
Dialogue: 0,0:19:13.10,0:19:18.39,Default,,0000,0000,0000,,been at war. And most of those are pre\N1800. And then... So since
Dialogue: 0,0:19:18.39,0:19:23.64,Default,,0000,0000,0000,,1900, there's only been five years. And\Nyou can see all of these dots. So one of
Dialogue: 0,0:19:23.64,0:19:27.61,Default,,0000,0000,0000,,the reasons that I wanted to create this\Ndocument, is that I had this proposal,
Dialogue: 0,0:19:27.61,0:19:32.20,Default,,0000,0000,0000,,that I wanted to do for this, uh, this\Nmuseum in Spain. And I was talking to
Dialogue: 0,0:19:32.20,0:19:36.29,Default,,0000,0000,0000,,curator and I said: "Hey. You know, it\Nwould be really great, what if we set up
Dialogue: 0,0:19:36.29,0:19:40.90,Default,,0000,0000,0000,,a wall of like bulletproof glass in the\Ngallery. So we'll just, it's like, as
Dialogue: 0,0:19:40.90,0:19:43.83,Default,,0000,0000,0000,,people are going around the museum, we\Njust set up a huge bulletproof, huge
Dialogue: 0,0:19:43.83,0:19:49.09,Default,,0000,0000,0000,,sheet of bulletproof glass with a really\Nfaint drawing of the world. And we'll
Dialogue: 0,0:19:49.09,0:19:52.65,Default,,0000,0000,0000,,have got, we'll have a guy with a rifle\Nin the back and he'll shoot bullets at the
Dialogue: 0,0:19:52.65,0:19:58.80,Default,,0000,0000,0000,,audience. But the, but because there's\Nbulletproof glass, it'll stop. And I mean,
Dialogue: 0,0:19:58.80,0:20:02.37,Default,,0000,0000,0000,,I knew that there was just no way they\Nwould go for it. But to my surprise, they
Dialogue: 0,0:20:02.37,0:20:09.41,Default,,0000,0000,0000,,said: "Let us talk to some security people\Nand we'll get back to you about this."
Dialogue: 0,0:20:09.41,0:20:12.85,Default,,0000,0000,0000,,And I was really surprised. So in the\Nmeantime, we did some ballistics tests.
Dialogue: 0,0:20:12.85,0:20:16.08,Default,,0000,0000,0000,,So check this out. Look at, look at, I\Nmean, like, that's what it looks
Dialogue: 0,0:20:16.08,0:20:20.45,Default,,0000,0000,0000,,like. I mean, it's just beautiful when ...\NI mean, just the way, like, when
Dialogue: 0,0:20:20.45,0:20:25.04,Default,,0000,0000,0000,,basically, when bullets hit bulletproof\Nglass. It's not really glass, it's just
Dialogue: 0,0:20:25.04,0:20:31.77,Default,,0000,0000,0000,,very dense plastic. And the heat of the\Nbullet comes in at such velocity,
Dialogue: 0,0:20:31.77,0:20:36.56,Default,,0000,0000,0000,,that the plastic melts just ever so\Nslightly and then just swallows the bullet
Dialogue: 0,0:20:36.56,0:20:42.84,Default,,0000,0000,0000,,back up and it freezes back up, so\Nslightly liquefies and then solidifies.
Dialogue: 0,0:20:42.84,0:20:47.62,Default,,0000,0000,0000,,This is what happens inside your body,\Nwhen you get shot. Except your body
Dialogue: 0,0:20:47.62,0:20:51.47,Default,,0000,0000,0000,,doesn't just, you know, absorb the bullet\Nand just refreeze together. It's just
Dialogue: 0,0:20:51.47,0:20:55.64,Default,,0000,0000,0000,,like this really scary looking thing of\Njust looking at that, that blunt trauma,
Dialogue: 0,0:20:55.64,0:21:02.17,Default,,0000,0000,0000,,that immediate point of when that\Nbullet hits. This is what happens. So we
Dialogue: 0,0:21:02.17,0:21:05.93,Default,,0000,0000,0000,,did some ballistics tests and we went\Nthrough some ideas and then, and then of
Dialogue: 0,0:21:05.93,0:21:09.02,Default,,0000,0000,0000,,course, as I expected, they said: "No,\Nyou're crazy, there's no way we're doing
Dialogue: 0,0:21:09.02,0:21:16.47,Default,,0000,0000,0000,,this." But they were willing to send this\Nout to, to off-site. And we built this in
Dialogue: 0,0:21:16.47,0:21:21.49,Default,,0000,0000,0000,,these fabricators built this off-site.\NAnd of course then there was these other
Dialogue: 0,0:21:21.49,0:21:27.14,Default,,0000,0000,0000,,problems of, you know, if we build this in\Nthe US and send it to the museum, I mean,
Dialogue: 0,0:21:27.14,0:21:31.17,Default,,0000,0000,0000,,you know, when it comes into Europe, does\Nit get imported as artwork or does it get
Dialogue: 0,0:21:31.17,0:21:35.47,Default,,0000,0000,0000,,imported as, well, possibly firearms\Nbecause there's actual real gunpowder in
Dialogue: 0,0:21:35.47,0:21:41.86,Default,,0000,0000,0000,,it? There's a lot of problems. So in\Norder to deal with the customs issues
Dialogue: 0,0:21:41.86,0:21:45.85,Default,,0000,0000,0000,,of it, we figured, you\Nknow, what, let's just ship it,
Dialogue: 0,0:21:45.85,0:21:50.63,Default,,0000,0000,0000,,let's just have it built in Spain. And\Nthen, as we were about to build this, we
Dialogue: 0,0:21:50.63,0:21:57.01,Default,,0000,0000,0000,,realized: There was a little pesky Spanish\Nlaw, that requires you to be at least 25
Dialogue: 0,0:21:57.01,0:22:02.33,Default,,0000,0000,0000,,meters away from the intended target. You\Ncan't discharge a weapon in less than 25
Dialogue: 0,0:22:02.33,0:22:06.67,Default,,0000,0000,0000,,meters of its intended target. Now of\Ncourse I wanted this piece to be gigantic.
Dialogue: 0,0:22:06.67,0:22:09.32,Default,,0000,0000,0000,,And then you could only imagine, that\Nthis, the price of the bulletproof glass,
Dialogue: 0,0:22:09.32,0:22:14.42,Default,,0000,0000,0000,,as it gets larger and larger and larger.\NSo we eventually agreed that it'll be 4
Dialogue: 0,0:22:14.42,0:22:20.02,Default,,0000,0000,0000,,meters by 2 meters. Except at that scale,\Neach of these dots, each of these bull–,
Dialogue: 0,0:22:20.02,0:22:26.37,Default,,0000,0000,0000,,each of these targets then become like 3\Nmillimeters or 4 millimeters in diameter.
Dialogue: 0,0:22:26.37,0:22:30.33,Default,,0000,0000,0000,,Now I don't know how many of you do\Nshooting or target practice or any of
Dialogue: 0,0:22:30.33,0:22:35.93,Default,,0000,0000,0000,,that. But try to hit 330 dots that are\Nabout 3 to 4 millimeters in
Dialogue: 0,0:22:35.93,0:22:40.81,Default,,0000,0000,0000,,diameter from 25 meters away, one after\Nanother, without missing them. That's
Dialogue: 0,0:22:40.81,0:22:45.81,Default,,0000,0000,0000,,actually practically impossible. So I was\Nlike: How do we do this? And then the
Dialogue: 0,0:22:45.81,0:22:50.35,Default,,0000,0000,0000,,museum fortunately hired three former\NOlympians to do this. It was just
Dialogue: 0,0:22:50.35,0:22:56.55,Default,,0000,0000,0000,,unbelievable, watching these guys. And of\Nthe 330 bullets, that are there, 326 of
Dialogue: 0,0:22:56.55,0:23:01.52,Default,,0000,0000,0000,,them were exactly on center. The four that\Nwere off, were no more than five, five
Dialogue: 0,0:23:01.52,0:23:06.60,Default,,0000,0000,0000,,millimeters, and I'm convinced I just\Ndrew them wrong. Those four, I mean, it's
Dialogue: 0,0:23:06.60,0:23:09.52,Default,,0000,0000,0000,,just, it's just unbelievable. But you,\Nbut you can see what happens. So in the
Dialogue: 0,0:23:09.52,0:23:14.43,Default,,0000,0000,0000,,middle over here, this is Central\NAmerica, we have hit, we have invaded
Dialogue: 0,0:23:14.43,0:23:18.54,Default,,0000,0000,0000,,Central America so many times. That as\Nyou keep hitting these bullets, these
Dialogue: 0,0:23:18.54,0:23:23.01,Default,,0000,0000,0000,,physical, these bullets, just eventually\Nthe bulletproof glass just shatters and
Dialogue: 0,0:23:23.01,0:23:27.71,Default,,0000,0000,0000,,gives away, I mean, it so, it causes a\Nliteral wreck. So it's kind of
Dialogue: 0,0:23:27.71,0:23:32.82,Default,,0000,0000,0000,,interesting, looking at this, this very\Nabstract concept of, of these invasions,
Dialogue: 0,0:23:32.82,0:23:38.20,Default,,0000,0000,0000,,these political, these types of political\Npolicies, that we have, and what the
Dialogue: 0,0:23:38.20,0:23:43.23,Default,,0000,0000,0000,,physical manifestation of that, what that\Ndoes in a map. But what does that do to
Dialogue: 0,0:23:43.23,0:23:46.94,Default,,0000,0000,0000,,the physical geography? So I'm really\Ninterested in this idea of geography body,
Dialogue: 0,0:23:46.94,0:23:50.53,Default,,0000,0000,0000,,data body, this physicality and the\Nvirtuality and how these two come
Dialogue: 0,0:23:50.53,0:23:54.74,Default,,0000,0000,0000,,together. And this. So similarly, uh,\NI've been, I've been doing a lot of these
Dialogue: 0,0:23:54.74,0:23:58.66,Default,,0000,0000,0000,,things about warfare and such. And I want\Nto show you this project. This is a
Dialogue: 0,0:23:58.66,0:24:02.58,Default,,0000,0000,0000,,project that I've been working on in, in\NHawaii recently. And you know, Hawaii, I
Dialogue: 0,0:24:02.58,0:24:07.82,Default,,0000,0000,0000,,mean, who's gonna turn down a job in\NHawaii? It was pretty unbelievable,
Dialogue: 0,0:24:07.82,0:24:15.92,Default,,0000,0000,0000,,getting a chance to do this\Nproject. And so, when you go to, when you
Dialogue: 0,0:24:15.92,0:24:20.15,Default,,0000,0000,0000,,in... Hawaii is a really\Ninteresting, at least in American policy
Dialogue: 0,0:24:20.15,0:24:25.76,Default,,0000,0000,0000,,and American political and cultural\Nperspectives, Hawaii is a very unique
Dialogue: 0,0:24:25.76,0:24:32.19,Default,,0000,0000,0000,,place. Because Hawaii is the ultimate\Nmanifestation or the ultimate, like,...
Dialogue: 0,0:24:32.19,0:24:37.32,Default,,0000,0000,0000,,embodiment of what we in, in the, in the\NUS we have this term called "manifest
Dialogue: 0,0:24:37.32,0:24:43.07,Default,,0000,0000,0000,,destiny", which was a term from the early\N1700, actually the late 1700s, in the
Dialogue: 0,0:24:43.07,0:24:47.58,Default,,0000,0000,0000,,early history of America, where we\Ndecided to start in the East and the
Dialogue: 0,0:24:47.58,0:24:52.15,Default,,0000,0000,0000,,Atlantic and expand all the way across\Nthe ... That we will manifest the
Dialogue: 0,0:24:52.15,0:24:57.59,Default,,0000,0000,0000,,country and the whole land will become\Nours. This is the birth of the US. This
Dialogue: 0,0:24:57.59,0:25:02.83,Default,,0000,0000,0000,,is the idea of how the country was, was\Ngiven birth to. Now, Hawaii is a really
Dialogue: 0,0:25:02.83,0:25:09.09,Default,,0000,0000,0000,,interesting situation in this perspective\Nbecause now, you know, we've started on
Dialogue: 0,0:25:09.09,0:25:11.77,Default,,0000,0000,0000,,the Atlantic coast, we've\Nconquered, conquered, conquered,
Dialogue: 0,0:25:11.77,0:25:16.55,Default,,0000,0000,0000,,conquered, conquered, got, went all there\Nover to the end. We've gone to the Pacific
Dialogue: 0,0:25:16.55,0:25:21.03,Default,,0000,0000,0000,,Ocean. And now we've crossed the Pacific\NOcean. And now we've gone to this middle
Dialogue: 0,0:25:21.03,0:25:25.74,Default,,0000,0000,0000,,of this, this rock in the middle of the,\Nof the ocean. And now we're at the top of
Dialogue: 0,0:25:25.74,0:25:29.16,Default,,0000,0000,0000,,the mountain. So we've actually, like, you\Nknow, then all that, then ... The
Dialogue: 0,0:25:29.16,0:25:31.78,Default,,0000,0000,0000,,interesting thing is: Hawaiian culture,\Nwhen you go to the peaks of each of the
Dialogue: 0,0:25:31.78,0:25:37.05,Default,,0000,0000,0000,,mountains, every, every of the mountain\Npeaks are sacred. Interestingly enough,
Dialogue: 0,0:25:37.05,0:25:41.88,Default,,0000,0000,0000,,when you go to each of these mountaintops,\Nthey're all, well, there are almost always
Dialogue: 0,0:25:41.88,0:25:46.39,Default,,0000,0000,0000,,US military or some sort of government or\Nsome sort of science. But, of course, for
Dialogue: 0,0:25:46.39,0:25:50.36,Default,,0000,0000,0000,,many ... And now, granted, I know, there\Nis some amazing stuff being done. But
Dialogue: 0,0:25:50.36,0:25:54.92,Default,,0000,0000,0000,,there's a lot of also very shady, you\Nknow, like it's military stuff being
Dialogue: 0,0:25:54.92,0:25:58.37,Default,,0000,0000,0000,,done. And it's also this thing of like\Ngoing up and then now with these
Dialogue: 0,0:25:58.37,0:26:04.38,Default,,0000,0000,0000,,surveillance devices, these telescopes at\Nthe top of each of these monitoring and
Dialogue: 0,0:26:04.38,0:26:10.90,Default,,0000,0000,0000,,surveying and measuring everything out in\Nthe West and out in the sky. And you
Dialogue: 0,0:26:10.90,0:26:13.32,Default,,0000,0000,0000,,know, so we've gone through the West,\Nwhich is also a really interesting thing
Dialogue: 0,0:26:13.32,0:26:17.24,Default,,0000,0000,0000,,about the history of landscape in\NAmerica. Let me show you, let me show you
Dialogue: 0,0:26:17.24,0:26:21.59,Default,,0000,0000,0000,,a couple of these images of the top of\Nthis place, which is just, it's just
Dialogue: 0,0:26:21.59,0:26:25.40,Default,,0000,0000,0000,,beautiful going up there. I mean, it\Nlooks like Mars. And a lot of the Mars
Dialogue: 0,0:26:25.40,0:26:29.95,Default,,0000,0000,0000,,tests were actually done up there because\N... I mean, it's just amazing.
Dialogue: 0,0:26:29.95,0:26:33.90,Default,,0000,0000,0000,,Like you're looking down at the sky and\Nthere's these like satellites everywhere.
Dialogue: 0,0:26:33.90,0:26:38.77,Default,,0000,0000,0000,,I mean, it really does look like a Martian\Nlandscape. I'm really interested in this.
Dialogue: 0,0:26:38.77,0:26:41.32,Default,,0000,0000,0000,,Okay, so let me show you these projects.\NI've been really interested in watching
Dialogue: 0,0:26:41.32,0:26:47.39,Default,,0000,0000,0000,,the watchers of this thing of ... like\N... And what happens when you aestheticize
Dialogue: 0,0:26:47.39,0:26:51.39,Default,,0000,0000,0000,,surveillance. I mean, obviously, this is\Na major issue for a lot of us. And a lot
Dialogue: 0,0:26:51.39,0:26:55.36,Default,,0000,0000,0000,,of the conference topics here, talks\Nabout privacy and what to do and how to
Dialogue: 0,0:26:55.36,0:27:01.33,Default,,0000,0000,0000,,stop mass surveillance and things of\Nthat type. But when you hear the word
Dialogue: 0,0:27:01.33,0:27:07.18,Default,,0000,0000,0000,,"surveillance imagery", what do you think\Nof? What are you thinking? Just imagine:
Dialogue: 0,0:27:07.18,0:27:11.18,Default,,0000,0000,0000,,a picture, "surveillance imagery". What\Ndoes it look like to you? And for most of
Dialogue: 0,0:27:11.18,0:27:14.37,Default,,0000,0000,0000,,us, we generally probably think of like,\Nyou know, like, what CCTV or surveillance
Dialogue: 0,0:27:14.37,0:27:20.56,Default,,0000,0000,0000,,camera images look like. Usually grainy,\Npixely, no, gritty, sometimes black and
Dialogue: 0,0:27:20.56,0:27:25.74,Default,,0000,0000,0000,,white. You know, with this audience, we already know data\Nstorage is cheap. I mean, this data
Dialogue: 0,0:27:25.74,0:27:30.78,Default,,0000,0000,0000,,storage, I mean, you could buy a terabyte\Ndrive for like 30 bucks. So data, you
Dialogue: 0,0:27:30.78,0:27:33.52,Default,,0000,0000,0000,,know, it's, and it gets cheaper and\Ncheaper every day. And the capacity gets
Dialogue: 0,0:27:33.52,0:27:37.79,Default,,0000,0000,0000,,larger and larger. So it's not necessarily\Nan economic issue. But it's actually more
Dialogue: 0,0:27:37.79,0:27:42.35,Default,,0000,0000,0000,,of a cultural issue. And, and I'm\Nproposing the fact that when you hyper-
Dialogue: 0,0:27:42.35,0:27:51.22,Default,,0000,0000,0000,,aestheticize a surveillance image, your\Nbrain no longer reads it as surveillance.
Dialogue: 0,0:27:51.22,0:27:57.06,Default,,0000,0000,0000,,Your brain rejects the image when it's\Ntoo aesthetically pleasing. You read it as
Dialogue: 0,0:27:57.06,0:28:01.88,Default,,0000,0000,0000,,landscape or you read it as, read it as\Nlandscape photography. And, and many of
Dialogue: 0,0:28:01.88,0:28:04.92,Default,,0000,0000,0000,,the, in the case of landscape photography\Nand many of it is, the history of it is
Dialogue: 0,0:28:04.92,0:28:10.58,Default,,0000,0000,0000,,based on landscape painting. So it's\Nreally that, that gritty graininess that
Dialogue: 0,0:28:10.58,0:28:15.86,Default,,0000,0000,0000,,actually gives us the, the emotional\Nattachment that this is a surveillance
Dialogue: 0,0:28:15.86,0:28:21.08,Default,,0000,0000,0000,,image. Because when it becomes, when it\Ndoesn't have those characteristics, when
Dialogue: 0,0:28:21.08,0:28:27.25,Default,,0000,0000,0000,,it doesn't have those qualities, it\Nbecomes a photo or a video. So in this
Dialogue: 0,0:28:27.25,0:28:30.14,Default,,0000,0000,0000,,case, I just, I was really interested in\Nwhat happens when, when you hyper-
Dialogue: 0,0:28:30.14,0:28:34.15,Default,,0000,0000,0000,,aestheticize that. And imagine if you had\Nx-ray vision. Imagine you had x-ray
Dialogue: 0,0:28:34.15,0:28:37.15,Default,,0000,0000,0000,,vision. You could see right through this\Nwall. What would you see on the other of
Dialogue: 0,0:28:37.15,0:28:41.96,Default,,0000,0000,0000,,this wall? Well, this image, which\Nactually looks like a window pane. They're
Dialogue: 0,0:28:41.96,0:28:47.32,Default,,0000,0000,0000,,actually six very large monitors and this\Nis, this functions as a see-
Dialogue: 0,0:28:47.32,0:28:51.18,Default,,0000,0000,0000,,through wall. So you could actually see\Nthrough this wall. And just so, it just
Dialogue: 0,0:28:51.18,0:28:55.97,Default,,0000,0000,0000,,so happened that on the other side of the,\Nof the wall from this exhibition space
Dialogue: 0,0:28:55.97,0:29:00.26,Default,,0000,0000,0000,,was the Baltimore Police Department. So I\Nloved the idea of being able to watch the
Dialogue: 0,0:29:00.26,0:29:04.65,Default,,0000,0000,0000,,police watching me watching them. And\Nwhen you notice that there's that, next in
Dialogue: 0,0:29:04.65,0:29:06.60,Default,,0000,0000,0000,,the blue light there's a little\Nsurveillance camera on top of their
Dialogue: 0,0:29:06.60,0:29:10.71,Default,,0000,0000,0000,,dumpster which really doesn't make any\Nsense to me why they would need a
Dialogue: 0,0:29:10.71,0:29:13.98,Default,,0000,0000,0000,,surveillance camera over their dumpster.\NBut I just love this image of just this
Dialogue: 0,0:29:13.98,0:29:17.30,Default,,0000,0000,0000,,constant reflecting back and forth and\Nwatching and watching and watching back.
Dialogue: 0,0:29:17.30,0:29:20.35,Default,,0000,0000,0000,,And in the image you couldn't tell, you\Nknow, whether it was, whether you're
Dialogue: 0,0:29:20.35,0:29:23.94,Default,,0000,0000,0000,,looking at a photograph or whether you're\Nlooking at a video or whether you're, you
Dialogue: 0,0:29:23.94,0:29:27.57,Default,,0000,0000,0000,,know, it's just every now that you see\Nsome blurry lights move by or some of
Dialogue: 0,0:29:27.57,0:29:31.90,Default,,0000,0000,0000,,these figures. But really, you know, if\Nyou look at a lot of what machine vision,
Dialogue: 0,0:29:31.90,0:29:34.29,Default,,0000,0000,0000,,a lot of the software, I mean, you know,\Nlike, you know, you see those things on
Dialogue: 0,0:29:34.29,0:29:38.60,Default,,0000,0000,0000,,the TV with all those people looking at\Nthose monitors. And that's, no, that's,
Dialogue: 0,0:29:38.60,0:29:42.90,Default,,0000,0000,0000,,that's like the movies or that's like they\Nused for like fundraising. The real stuff
Dialogue: 0,0:29:42.90,0:29:47.39,Default,,0000,0000,0000,,is all machines looking at this stuff. And\Nit doesn't actually look that sexy at all.
Dialogue: 0,0:29:47.39,0:29:51.94,Default,,0000,0000,0000,,So I love this idea of actually taking\Nthis image and, you know, seeing
Dialogue: 0,0:29:51.94,0:29:56.30,Default,,0000,0000,0000,,what can happen when it's\Naestheticized. Now similarly, you know,
Dialogue: 0,0:29:56.30,0:29:59.72,Default,,0000,0000,0000,,what happens when the form is\Naestheticized? This is the very
Dialogue: 0,0:29:59.72,0:30:03.23,Default,,0000,0000,0000,,similar project at another location. But\Nthis is what you would see through the
Dialogue: 0,0:30:03.23,0:30:11.05,Default,,0000,0000,0000,,wall. And when you see this, I mean, your\Nbrain completely rejects this as a
Dialogue: 0,0:30:11.05,0:30:17.37,Default,,0000,0000,0000,,surveillance image. But this is exactly\Nwhat happens right on the other side over
Dialogue: 0,0:30:17.37,0:30:22.31,Default,,0000,0000,0000,,there. So thinking about the idea of\Naesthetics and what surveillance looks
Dialogue: 0,0:30:22.31,0:30:28.92,Default,,0000,0000,0000,,like and at least, you know, growing up\Nin an American context, you know, so
Dialogue: 0,0:30:28.92,0:30:33.81,Default,,0000,0000,0000,,a lot of the history of American\Nphotography comes from American painting
Dialogue: 0,0:30:33.81,0:30:38.53,Default,,0000,0000,0000,,or landscape painting. And the history of\Na lot of our landscape painting comes from
Dialogue: 0,0:30:38.53,0:30:42.45,Default,,0000,0000,0000,,the Hudson River School, which is the\NNortheast and, you know, up north of New
Dialogue: 0,0:30:42.45,0:30:47.97,Default,,0000,0000,0000,,York City and up the Hudson River. These\Ngorgeous grand vistas, often of these
Dialogue: 0,0:30:47.97,0:30:54.21,Default,,0000,0000,0000,,really large, you know, wide viewpoints,\Nof these very like subliminal, very like
Dialogue: 0,0:30:54.21,0:30:59.19,Default,,0000,0000,0000,,spiritual type of imagery. This very\Ngodlike imagery. Which is kind of
Dialogue: 0,0:30:59.19,0:31:04.36,Default,,0000,0000,0000,,interesting because in the way it is like\Ntrying to replicate this eye of God. Or if
Dialogue: 0,0:31:04.36,0:31:06.70,Default,,0000,0000,0000,,you want to look at it from the\Nperspective of surveillance, in which we
Dialogue: 0,0:31:06.70,0:31:12.66,Default,,0000,0000,0000,,generally tend to think of surveillance\Nas a very post 9/11 or a very 21st century
Dialogue: 0,0:31:12.66,0:31:17.89,Default,,0000,0000,0000,,concept. I mean, most of us did not use\Nthe word surveillance, say, you know, 20
Dialogue: 0,0:31:17.89,0:31:22.33,Default,,0000,0000,0000,,years ago, 30 years ago. That word was\Nnot as common. It certainly has become
Dialogue: 0,0:31:22.33,0:31:27.33,Default,,0000,0000,0000,,incredibly common in our vocabulary very\Nrecently. But even though we tend to
Dialogue: 0,0:31:27.33,0:31:32.43,Default,,0000,0000,0000,,think of surveillance as a very post–, a\Nvery 21st century concept, this is
Dialogue: 0,0:31:32.43,0:31:36.51,Default,,0000,0000,0000,,something that's been embedded in our\Nhistory, in our brains for thousands of
Dialogue: 0,0:31:36.51,0:31:41.57,Default,,0000,0000,0000,,years. Particularly when you look at those\Nearly paintings. And then God as the
Dialogue: 0,0:31:41.57,0:31:49.18,Default,,0000,0000,0000,,original surveillance camera. You behaved\Nbecause God was watching. So it was very
Dialogue: 0,0:31:49.18,0:31:55.22,Default,,0000,0000,0000,,easy to replace this being above with a\Ncamera above. And that becomes so
Dialogue: 0,0:31:55.22,0:31:59.62,Default,,0000,0000,0000,,normalized in our daily lives. I mean,\Nthink about it. How does Santa Claus know
Dialogue: 0,0:31:59.62,0:32:04.52,Default,,0000,0000,0000,,everything about you? I mean, we were\Ntaught this since we were at such an
Dialogue: 0,0:32:04.52,0:32:09.78,Default,,0000,0000,0000,,early point in life. We've ... So this\Nnormalization of surveillance, this
Dialogue: 0,0:32:09.78,0:32:13.64,Default,,0000,0000,0000,,normalization. And also this, you know,\Nand ... You know, we don't think, we
Dialogue: 0,0:32:13.64,0:32:18.61,Default,,0000,0000,0000,,never use the word surveillance when we're\Ntalking about God. Again you know, this
Dialogue: 0,0:32:18.61,0:32:21.94,Default,,0000,0000,0000,,aesthetics, the hyper-\Naestheticization or maybe, if you want to
Dialogue: 0,0:32:21.94,0:32:26.27,Default,,0000,0000,0000,,call, I mean, this is not exactly a\Nstatusization. But, you know, in
Dialogue: 0,0:32:26.27,0:32:31.50,Default,,0000,0000,0000,,the idea of thinking about it. So, again,\Nthis relationship between the watched and
Dialogue: 0,0:32:31.50,0:32:35.58,Default,,0000,0000,0000,,watcher. And, you know, another similar\Nproject and one that looks like when
Dialogue: 0,0:32:35.58,0:32:40.36,Default,,0000,0000,0000,,you break that frame of looking at ... of\Nthe format of surveillance and when you
Dialogue: 0,0:32:40.36,0:32:43.81,Default,,0000,0000,0000,,aestheticize the format, not only the\Nimagery of surveillance, but also the
Dialogue: 0,0:32:43.81,0:32:48.17,Default,,0000,0000,0000,,format and how the surveillance is\Npresented. I mean, we rarely, we would
Dialogue: 0,0:32:48.17,0:32:52.18,Default,,0000,0000,0000,,never, we wouldn't even think of this as a\Nsurveillance camera image. But that is
Dialogue: 0,0:32:52.18,0:32:56.39,Default,,0000,0000,0000,,exactly what this is. That's another\Nsimilar piece. I just want to show you
Dialogue: 0,0:32:56.39,0:32:59.20,Default,,0000,0000,0000,,the context of this one. Because I want\Nto show you, but talk a little bit about
Dialogue: 0,0:32:59.20,0:33:04.35,Default,,0000,0000,0000,,the project that's going on on the right.\NAnd this image is ... So they look like
Dialogue: 0,0:33:04.35,0:33:08.09,Default,,0000,0000,0000,,these landmines. But they also look like\Nsatellites. I'm really interested in this
Dialogue: 0,0:33:08.09,0:33:12.02,Default,,0000,0000,0000,,idea of like circumnavigation. I'm really\Ninterested in these things of, you know,
Dialogue: 0,0:33:12.02,0:33:16.32,Default,,0000,0000,0000,,conceptually this project is telling you\Nearlier about. This is about telling you
Dialogue: 0,0:33:16.32,0:33:21.12,Default,,0000,0000,0000,,everything and nothing simultaneously. But\Nin a similar way, I'm also really
Dialogue: 0,0:33:21.12,0:33:25.33,Default,,0000,0000,0000,,interested in this concept of Magellan and\Ncircumnavigation, where you go far enough
Dialogue: 0,0:33:25.33,0:33:29.71,Default,,0000,0000,0000,,to this side, you end up in the other.\NYou circle around the whole thing. Does
Dialogue: 0,0:33:29.71,0:33:32.39,Default,,0000,0000,0000,,that make sense, a little bit? So in the,\Nyou know, sometimes some people are so far
Dialogue: 0,0:33:32.39,0:33:36.91,Default,,0000,0000,0000,,to the left, that they're actually very\Nmuch to the right and vice versa. So
Dialogue: 0,0:33:36.91,0:33:40.39,Default,,0000,0000,0000,,there's this, the circular reasoning\Nthat keeps coming back and forth. And I'm
Dialogue: 0,0:33:40.39,0:33:43.39,Default,,0000,0000,0000,,really interested in this thing and ...\NThis could be a landmine, but
Dialogue: 0,0:33:43.39,0:33:47.32,Default,,0000,0000,0000,,this could also be a satellite. It's,\Nthere's these types. And then also at the
Dialogue: 0,0:33:47.32,0:33:50.94,Default,,0000,0000,0000,,same time, like, this was, this is an\Nearlier project. But they also look like
Dialogue: 0,0:33:50.94,0:33:54.78,Default,,0000,0000,0000,,selfie sticks. But then there's these,\Nlike, all these things coming out with
Dialogue: 0,0:33:54.78,0:33:58.12,Default,,0000,0000,0000,,these, like, these monitors sticking out\Nof each of ... This is pretty iPad. Well,
Dialogue: 0,0:33:58.12,0:34:01.89,Default,,0000,0000,0000,,actually this installation was done\Nlater. But I mean, now it's like these
Dialogue: 0,0:34:01.89,0:34:05.62,Default,,0000,0000,0000,,tablets are like so common. And they're so\Neverywhere. But what ... These are 72
Dialogue: 0,0:34:05.62,0:34:09.14,Default,,0000,0000,0000,,monitors and all the images that I've\Nshared with the FBI and said to my FBI
Dialogue: 0,0:34:09.14,0:34:13.48,Default,,0000,0000,0000,,agent, these are all being shown on all\Nthese monitors simultaneously. And you
Dialogue: 0,0:34:13.48,0:34:19.35,Default,,0000,0000,0000,,could get an idea of what you're looking\Nat. So in the same sense this project was
Dialogue: 0,0:34:19.35,0:34:23.53,Default,,0000,0000,0000,,... This is only a part of ... This\None's... This one's about,
Dialogue: 0,0:34:23.53,0:34:32.09,Default,,0000,0000,0000,,it's about 28 feet. So that's just about\N8 meters, 8 and a half meters tall, this
Dialogue: 0,0:34:32.09,0:34:37.35,Default,,0000,0000,0000,,piece. And it's basically every photo\Nthat I photographed and shared.
Dialogue: 0,0:34:37.35,0:34:41.67,Default,,0000,0000,0000,,But they're all printed in these huge\Npieces, in these huge, vinyl banners. And
Dialogue: 0,0:34:41.67,0:34:45.87,Default,,0000,0000,0000,,the actual photos, each photo is about\Nthis little. But, you know, there's like
Dialogue: 0,0:34:45.87,0:34:48.96,Default,,0000,0000,0000,,thousands and thousands and thousands and\Nthousands of them. So when you look from
Dialogue: 0,0:34:48.96,0:34:53.90,Default,,0000,0000,0000,,the back, all you see is these vertical\Ncolor stripes. Interestly enough, well,
Dialogue: 0,0:34:53.90,0:34:57.08,Default,,0000,0000,0000,,what they, the other thing that ... I\Ndon't necessarily disclose this in public
Dialogue: 0,0:34:57.08,0:35:00.14,Default,,0000,0000,0000,,and I put the {\i1}[unclear]{\i0} but you're really looking\Nat all the images shot on Sunday, all the
Dialogue: 0,0:35:00.14,0:35:05.57,Default,,0000,0000,0000,,ones on Monday, Tuesday, Wednesday,\NThursday, and so on with the seven days.
Dialogue: 0,0:35:05.57,0:35:09.85,Default,,0000,0000,0000,,But what's also happening is, you know,\Nthe color bars, the test bars for
Dialogue: 0,0:35:09.85,0:35:13.94,Default,,0000,0000,0000,,color calibration of monitors, you know,\Nit's like ... So, one of the things that
Dialogue: 0,0:35:13.94,0:35:17.76,Default,,0000,0000,0000,,happend, I'm sure you must have had,\NI'm sure, you must have had this in
Dialogue: 0,0:35:17.76,0:35:21.10,Default,,0000,0000,0000,,Germany. But in the US we used to\Nhave a thing called the Emergency
Dialogue: 0,0:35:21.10,0:35:27.09,Default,,0000,0000,0000,,Broadcast System. And the television show\Nwould stop and would go {\i1}peeep{\i0} This tone
Dialogue: 0,0:35:27.09,0:35:30.36,Default,,0000,0000,0000,,would come out and these color bars would\Ncome on the screen and it would say "This
Dialogue: 0,0:35:30.36,0:35:33.78,Default,,0000,0000,0000,,is a test of the Emergency Broadcast\NSystem. Had this been a real emergency,
Dialogue: 0,0:35:33.78,0:35:37.38,Default,,0000,0000,0000,,you would have been instructed on what to\Ndo." So this thing of impending doom,
Dialogue: 0,0:35:37.38,0:35:42.01,Default,,0000,0000,0000,,this thing, if something is, something bad\Nis about to happen or something bad could
Dialogue: 0,0:35:42.01,0:35:45.42,Default,,0000,0000,0000,,happen. And because something like that\Ncould happen, we need to be ready and we
Dialogue: 0,0:35:45.42,0:35:49.54,Default,,0000,0000,0000,,need to be prepared. This thing of like,\Nyou know, being ready for these things. So
Dialogue: 0,0:35:49.54,0:35:53.30,Default,,0000,0000,0000,,I'm really interested in that, in this\Nidea of, like, what happens when
Dialogue: 0,0:35:53.30,0:35:57.07,Default,,0000,0000,0000,,you use that tone or when you use that\Ncolor and you borrow that thing? But at
Dialogue: 0,0:35:57.07,0:36:01.67,Default,,0000,0000,0000,,the same time, it's the very same system\Nthat broadcasters use to calibrate
Dialogue: 0,0:36:01.67,0:36:06.62,Default,,0000,0000,0000,,signal. So this thing of signal, you\Nknow, and if you think about it. On a
Dialogue: 0,0:36:06.62,0:36:10.74,Default,,0000,0000,0000,,daily basis, we generate so much digital\Ninformation. How much of it can be, how do
Dialogue: 0,0:36:10.74,0:36:14.53,Default,,0000,0000,0000,,we calibrate that? So in a way of\Ngiving a nod to that, that's where this
Dialogue: 0,0:36:14.53,0:36:20.52,Default,,0000,0000,0000,,piece comes out of. So and then this one\Nled to the next one, which ... This has
Dialogue: 0,0:36:20.52,0:36:25.15,Default,,0000,0000,0000,,been making the rounds throughout the\Nplace. So this was at ZKM a couple of
Dialogue: 0,0:36:25.15,0:36:29.40,Default,,0000,0000,0000,,years ago here. And then, now this has\Nbeen floating around Eastern Europe. And
Dialogue: 0,0:36:29.40,0:36:32.27,Default,,0000,0000,0000,,these are, you know, they look really\Nsmall on the, in the photograph. But this
Dialogue: 0,0:36:32.27,0:36:36.06,Default,,0000,0000,0000,,is the same piece, but lit up from the\Nback. I'll show you another photo of it
Dialogue: 0,0:36:36.06,0:36:39.65,Default,,0000,0000,0000,,so you can get a better idea of this\Npiece. So you're seeing every little bits
Dialogue: 0,0:36:39.65,0:36:43.73,Default,,0000,0000,0000,,and pieces and all of these things coming\Ntogether. So they're about three meters
Dialogue: 0,0:36:43.73,0:36:49.28,Default,,0000,0000,0000,,tall, each of these slabs. And\Nand they're lit up from the back. So
Dialogue: 0,0:36:49.28,0:36:52.45,Default,,0000,0000,0000,,and then this is a body of work that\NI'm dealing with. So this thing of, like,
Dialogue: 0,0:36:52.45,0:36:56.30,Default,,0000,0000,0000,,you know, libraries or archives. And we\Nall have them. We all create personal
Dialogue: 0,0:36:56.30,0:36:59.25,Default,,0000,0000,0000,,archives. I mean, if you look at every\Nsingle photo you've ever shot, I mean,
Dialogue: 0,0:36:59.25,0:37:03.17,Default,,0000,0000,0000,,which you probably have a record of. You\Nknow, so when you have all of these, so
Dialogue: 0,0:37:03.17,0:37:06.53,Default,,0000,0000,0000,,what, you know, so we're all keeping our\Nown private archives, you know, I have my
Dialogue: 0,0:37:06.53,0:37:11.13,Default,,0000,0000,0000,,own private archive that I'm doing as a\Nparallel archive to the FBI. But, you
Dialogue: 0,0:37:11.13,0:37:14.95,Default,,0000,0000,0000,,know, it doesn't have to be for the FBI.\NI mean, we all ... maybe in this room, I'm
Dialogue: 0,0:37:14.95,0:37:18.03,Default,,0000,0000,0000,,sure everybody here has been watched\Nby the government. And there's
Dialogue: 0,0:37:18.03,0:37:21.62,Default,,0000,0000,0000,,probably a few people from the shady\Norganizations in this room right here
Dialogue: 0,0:37:21.62,0:37:26.00,Default,,0000,0000,0000,,anyway or certainly at the conference. But\Nwhat you're looking at here is every,
Dialogue: 0,0:37:26.00,0:37:30.38,Default,,0000,0000,0000,,maybe one of those images. And then\Nthere's this pretty grainy black-and-white
Dialogue: 0,0:37:30.38,0:37:34.59,Default,,0000,0000,0000,,image on top. And it looks like every\Nother industrial rooftop. It looks like
Dialogue: 0,0:37:34.59,0:37:38.56,Default,,0000,0000,0000,,it's a roof top of a building. And you\Ncan see the, the fans and the exhaust and
Dialogue: 0,0:37:38.56,0:37:42.20,Default,,0000,0000,0000,,the vents. And then at the lower right\Nthere's these like golf ball looking
Dialogue: 0,0:37:42.20,0:37:48.80,Default,,0000,0000,0000,,things. And most buildings don't have\Nthose. This happens to be the rooftop of
Dialogue: 0,0:37:48.80,0:37:53.91,Default,,0000,0000,0000,,the NSA. This is... So really\Nyou know, and I kind of look at
Dialogue: 0,0:37:53.91,0:37:58.20,Default,,0000,0000,0000,,it like the NSA and you know - us,\Nwe're kind of in the same business. We're
Dialogue: 0,0:37:58.20,0:38:00.58,Default,,0000,0000,0000,,kind of on the information business.\NExcept, you know, they like to keep
Dialogue: 0,0:38:00.58,0:38:04.98,Default,,0000,0000,0000,,theirs to themselves and I like to\Ngive it out to everybody. So, you know,
Dialogue: 0,0:38:04.98,0:38:08.20,Default,,0000,0000,0000,,we operate a little differently in our\Nbusiness. But we're kind of in the same
Dialogue: 0,0:38:08.20,0:38:12.51,Default,,0000,0000,0000,,business. So I decided to put this piece\Nout. And really, this thing of like, you
Dialogue: 0,0:38:12.51,0:38:15.59,Default,,0000,0000,0000,,know, so, you know, in a lot of ways\Nthey're kind of like selfies. But they're
Dialogue: 0,0:38:15.59,0:38:19.23,Default,,0000,0000,0000,,not really selfies, because when I\Nphotographed these things ... So let's go
Dialogue: 0,0:38:19.23,0:38:23.15,Default,,0000,0000,0000,,back to this for now. So, you know, when\NI'm photographing this, I mean, I could
Dialogue: 0,0:38:23.15,0:38:26.68,Default,,0000,0000,0000,,have taken the camera and I could\Nhave photographed you right now. But
Dialogue: 0,0:38:26.68,0:38:29.68,Default,,0000,0000,0000,,instead there's this very anonymous\Nlooking thing. I mean, like, you know, if
Dialogue: 0,0:38:29.68,0:38:32.73,Default,,0000,0000,0000,,you've been in this room, \Nyou know, that this could, we
Dialogue: 0,0:38:32.73,0:38:36.79,Default,,0000,0000,0000,,know where that is. But in the same way,\Nthere's these like really like, you know,
Dialogue: 0,0:38:36.79,0:38:41.01,Default,,0000,0000,0000,,so the camera is not pointing towards me.\NBut the camera is pointing outward. And
Dialogue: 0,0:38:41.01,0:38:43.01,Default,,0000,0000,0000,,that's what's really important here. And\Nthere's thousands and thousands and
Dialogue: 0,0:38:43.01,0:38:47.69,Default,,0000,0000,0000,,thousands of these. I know. So the\Nselfies, it's become a common thing. And
Dialogue: 0,0:38:47.69,0:38:53.22,Default,,0000,0000,0000,,it's no shame in, you know, saying\Nyou like the selfies. I mean, here's
Dialogue: 0,0:38:53.22,0:38:57.15,Default,,0000,0000,0000,,President Obama trying to make the look\Nat selfie stick and selfies look pretty
Dialogue: 0,0:38:57.15,0:39:02.42,Default,,0000,0000,0000,,respectable. I can't use the new guy.\NI can't just bear to see him. So I
Dialogue: 0,0:39:02.42,0:39:05.72,Default,,0000,0000,0000,,have to go with this guy. I have to go\Nwith Obama. Because, you know, it's
Dialogue: 0,0:39:05.72,0:39:09.85,Default,,0000,0000,0000,,important. But, you know, he's making\Nthat, so when he's taken that image, what
Dialogue: 0,0:39:09.85,0:39:13.72,Default,,0000,0000,0000,,happens? Now when you look at the \Nimage, this is what, this is the image
Dialogue: 0,0:39:13.72,0:39:16.95,Default,,0000,0000,0000,,that we're seeing. That's, that's up on my\Nwebsite right now. And as soon as I leave
Dialogue: 0,0:39:16.95,0:39:20.02,Default,,0000,0000,0000,,this room, there'll be a new image that'll\Npop up and then when I get to my hotel,
Dialogue: 0,0:39:20.02,0:39:23.86,Default,,0000,0000,0000,,you'll see another image. And then when I\Nget to, you know, wherever I go eat
Dialogue: 0,0:39:23.86,0:39:27.54,Default,,0000,0000,0000,,tonight, you'll see another image. But\Nanyway, so, you know, every few moments I
Dialogue: 0,0:39:27.54,0:39:31.60,Default,,0000,0000,0000,,timestamp to change it. So when we're\Nseeing this image, but really this is what
Dialogue: 0,0:39:31.60,0:39:34.74,Default,,0000,0000,0000,,the, this is what the computer is seeing.\NAnd this ... Some of you, and I'm sure
Dialogue: 0,0:39:34.74,0:39:38.48,Default,,0000,0000,0000,,you know about this, but for those that\Nare not aware of it, I mean, you know,
Dialogue: 0,0:39:38.48,0:39:42.93,Default,,0000,0000,0000,,when you look at the Exif data – I use {\i1}[unclear]{\i0}\Nwhich is an Exif reader to extract what
Dialogue: 0,0:39:42.93,0:39:46.78,Default,,0000,0000,0000,,my images are or what the data that's\Nbehind it – so you can see what the image
Dialogue: 0,0:39:46.78,0:39:51.22,Default,,0000,0000,0000,,is. That was shot right there, in that\Nlocation. I mean, we know that because
Dialogue: 0,0:39:51.22,0:39:55.88,Default,,0000,0000,0000,,that's how our apps know. Would you like\Nto check in from here? That's how it knows
Dialogue: 0,0:39:55.88,0:39:59.24,Default,,0000,0000,0000,,the location. So location services,\Nthat's pretty simple. And that's all the,
Dialogue: 0,0:39:59.24,0:40:01.62,Default,,0000,0000,0000,,the metadata that's going ... But the\Nhere it's where it gets really
Dialogue: 0,0:40:01.62,0:40:06.62,Default,,0000,0000,0000,,interesting. The fact that when you \Nlook at the altitude of this image,
Dialogue: 0,0:40:06.62,0:40:14.01,Default,,0000,0000,0000,,the altitude is 186.061643, sounds about\Nright for Leipzig? For this area, 186
Dialogue: 0,0:40:14.01,0:40:19.53,Default,,0000,0000,0000,,meters of altitude? Yes? No? I mean, I'm\Nassuming it's correct because that's what
Dialogue: 0,0:40:19.53,0:40:22.43,Default,,0000,0000,0000,,the phone is telling me. But similarly,\Nwhat's really interesting is, when you
Dialogue: 0,0:40:22.43,0:40:27.50,Default,,0000,0000,0000,,look at the image direction. So, I mean,\Nwe know the latitude, longitude, that's a
Dialogue: 0,0:40:27.50,0:40:31.27,Default,,0000,0000,0000,,given. The altitude, that's a new one.\NBecause an image taken on the ground, sea
Dialogue: 0,0:40:31.27,0:40:36.00,Default,,0000,0000,0000,,level, on the ground level will look very\Ndifferent than an image shot on the 20th
Dialogue: 0,0:40:36.00,0:40:40.76,Default,,0000,0000,0000,,or 30th floor of a building. Because the\Nbarometric sensor inside the phone will
Dialogue: 0,0:40:40.76,0:40:44.58,Default,,0000,0000,0000,,put a different altitude number in there.\NSo we know, that this image can also,
Dialogue: 0,0:40:44.58,0:40:49.62,Default,,0000,0000,0000,,if I were to shoot this image from the\Nroof looking down, that image probably
Dialogue: 0,0:40:49.62,0:40:57.76,Default,,0000,0000,0000,,will be about a 188, 189, 190 meters.\NBecause of the distance of this. The other
Dialogue: 0,0:40:57.76,0:41:03.00,Default,,0000,0000,0000,,part, that's really interesting, is the\Nimage direction. The camera was tilted at
Dialogue: 0,0:41:03.00,0:41:12.39,Default,,0000,0000,0000,,a 163 degrees from North. 0 being North,\N90 East, 180 South, 270 West. So slightly
Dialogue: 0,0:41:12.39,0:41:16.68,Default,,0000,0000,0000,,south. The camera was pointed slightly\Nsouth-ish. Which is exactly what that
Dialogue: 0,0:41:16.68,0:41:23.12,Default,,0000,0000,0000,,camera's pointed. Now, why does this\Nmatter? It was only a few years ago that
Dialogue: 0,0:41:23.12,0:41:27.47,Default,,0000,0000,0000,,we were thinking: "You mean, Google is\Ngoing to drive up and down every single
Dialogue: 0,0:41:27.47,0:41:34.78,Default,,0000,0000,0000,,road and record every single street?"\NYes, basically the only thing, that's
Dialogue: 0,0:41:34.78,0:41:39.00,Default,,0000,0000,0000,,holding them back in certain places, is\Nthe country's laws or the local things.
Dialogue: 0,0:41:39.00,0:41:43.47,Default,,0000,0000,0000,,Aside from that, not only they drive up\Nand down every single road in every single
Dialogue: 0,0:41:43.47,0:41:47.62,Default,,0000,0000,0000,,city in every single country that they\Ncan. They do this repeatedly, year after
Dialogue: 0,0:41:47.62,0:41:51.54,Default,,0000,0000,0000,,year, after year, after year, after year.\NSome places they'll put, you know, like
Dialogue: 0,0:41:51.54,0:41:55.10,Default,,0000,0000,0000,,in Venice, they'll have like someone on a\Nboat that goes through. On certain
Dialogue: 0,0:41:55.10,0:41:58.45,Default,,0000,0000,0000,,pedestrian-only islands, there'll be\Nsomeone carrying a backpack of those
Dialogue: 0,0:41:58.45,0:42:03.04,Default,,0000,0000,0000,,Google cameras around. So it wasn't that\Nlong ago that this concept, that Google
Dialogue: 0,0:42:03.04,0:42:11.12,Default,,0000,0000,0000,,would catalog every possible outdoor\Nspace was seemed so far-fetched. It's only
Dialogue: 0,0:42:11.12,0:42:18.09,Default,,0000,0000,0000,,a matter of time before we collectively\Nphotograph every indoor space and we
Dialogue: 0,0:42:18.09,0:42:23.35,Default,,0000,0000,0000,,catalog every single indoor space and we\Nphotograph all of it. And sooner or
Dialogue: 0,0:42:23.35,0:42:28.19,Default,,0000,0000,0000,,later, this database, we, through this\Ndatabase of every indoor image with all
Dialogue: 0,0:42:28.19,0:42:32.80,Default,,0000,0000,0000,,the metadata, we can restitch every\Ninterior space. We could recreate every
Dialogue: 0,0:42:32.80,0:42:35.85,Default,,0000,0000,0000,,interior space. Similarly, you know, then,\Nyou know, when you look at your frequent
Dialogue: 0,0:42:35.85,0:42:38.39,Default,,0000,0000,0000,,locations. I mean, you know, do you look\Nat me that's like, you know, exactly what
Dialogue: 0,0:42:38.39,0:42:42.36,Default,,0000,0000,0000,,moment you've come on, what minute you\Nwalked into a place, what minute you've
Dialogue: 0,0:42:42.36,0:42:47.86,Default,,0000,0000,0000,,walked out of a place. I mean, you know,\Nhow does your phone know that you've
Dialogue: 0,0:42:47.86,0:42:53.65,Default,,0000,0000,0000,,taken, you know, 8934 steps today? I\Nmean, it's counting every single one of
Dialogue: 0,0:42:53.65,0:42:57.05,Default,,0000,0000,0000,,them. It knows, you went three, you \Nknow it, you've done five flights
Dialogue: 0,0:42:57.05,0:43:01.04,Default,,0000,0000,0000,,today, because it knows that your altitude\Nchanged from here to here to here. And it
Dialogue: 0,0:43:01.04,0:43:06.05,Default,,0000,0000,0000,,knows every second you've done all \Nthis. I mean, this is kind of crazy. So,
Dialogue: 0,0:43:06.05,0:43:09.39,Default,,0000,0000,0000,,you cross-reference all of this\Ndata. I mean, and short of basically
Dialogue: 0,0:43:09.39,0:43:13.88,Default,,0000,0000,0000,,giving up our phones. I mean, this data\Nis being collected and it's gonna happen.
Dialogue: 0,0:43:13.88,0:43:19.57,Default,,0000,0000,0000,,It's going to get archived. I mean, you\Nknow, there's plenty of, you
Dialogue: 0,0:43:19.57,0:43:24.35,Default,,0000,0000,0000,,know, but at these... that these phones\Nare just like, it's inevitable. And we're
Dialogue: 0,0:43:24.35,0:43:27.97,Default,,0000,0000,0000,,not going to give up our lives without\Nthem. So you cross-reference all of
Dialogue: 0,0:43:27.97,0:43:33.39,Default,,0000,0000,0000,,these. And very quickly it creates\Na complete picture of the owner of that
Dialogue: 0,0:43:33.39,0:43:38.47,Default,,0000,0000,0000,,device. Now back in the old days, you\Nknow, you'd have to, you know, the
Dialogue: 0,0:43:38.47,0:43:41.96,Default,,0000,0000,0000,,intelligence agencies would waste all of\Nthis energy or follow people around. I
Dialogue: 0,0:43:41.96,0:43:46.14,Default,,0000,0000,0000,,mean, you know, it wasn't that long ago.\NIt happened right here. I mean, you'd have
Dialogue: 0,0:43:46.14,0:43:49.09,Default,,0000,0000,0000,,people following other people around.\NYou'd have databases. And you have
Dialogue: 0,0:43:49.09,0:43:54.31,Default,,0000,0000,0000,,archives on other archives. This record-\Nkeeping, this massive amount of analog
Dialogue: 0,0:43:54.31,0:43:58.93,Default,,0000,0000,0000,,record-keeping, was not, this is\Nnot far-fetched. This happened very
Dialogue: 0,0:43:58.93,0:44:04.18,Default,,0000,0000,0000,,recently. Now, why should they\Ngo around, do that today, when they can
Dialogue: 0,0:44:04.18,0:44:07.03,Default,,0000,0000,0000,,just go to one of the companies and say:\N"Hey. You don't want you give it to us?"
Dialogue: 0,0:44:07.03,0:44:11.02,Default,,0000,0000,0000,,Now we know, you know, of course here's,\Nyou know, Tim Cook saying: "No, no, we
Dialogue: 0,0:44:11.02,0:44:15.26,Default,,0000,0000,0000,,don't, we don't give our information to\Nthe NSA, we don't do that." We know a
Dialogue: 0,0:44:15.26,0:44:18.80,Default,,0000,0000,0000,,little differently, you know, I mean,\Nremember these? These are from Snowden. I
Dialogue: 0,0:44:18.80,0:44:23.52,Default,,0000,0000,0000,,mean, this is obvious. Look, it doesn't\Nsay, when we ... well, it does not say,
Dialogue: 0,0:44:23.52,0:44:28.06,Default,,0000,0000,0000,,when the NSA intercepted each of these\Ndates, when prism collection began for
Dialogue: 0,0:44:28.06,0:44:32.66,Default,,0000,0000,0000,,each provider. They're being called\Nproviders here. The reason they're being
Dialogue: 0,0:44:32.66,0:44:36.45,Default,,0000,0000,0000,,called providers is, because these are the\Ncompanies, that are providing the
Dialogue: 0,0:44:36.45,0:44:42.76,Default,,0000,0000,0000,,information to the NSA. So while Tim Cook\Ncan say that he doesn't, you know, well,
Dialogue: 0,0:44:42.76,0:44:47.68,Default,,0000,0000,0000,,while he can say, well, he can say all he\Nwants about he doesn't, you know, that
Dialogue: 0,0:44:47.68,0:44:52.33,Default,,0000,0000,0000,,they don't involve themselves, we \Nknow otherwise. This is proof. So, you
Dialogue: 0,0:44:52.33,0:44:57.27,Default,,0000,0000,0000,,know, so my whole thing is like, hey, you\Nknow, if the tech companies, if these
Dialogue: 0,0:44:57.27,0:45:01.02,Default,,0000,0000,0000,,organisa..., if these large multinational\Ntech companies can provide this
Dialogue: 0,0:45:01.02,0:45:03.82,Default,,0000,0000,0000,,information, why can't we do this for\Nourselves? Why can't we just put this out
Dialogue: 0,0:45:03.82,0:45:07.51,Default,,0000,0000,0000,,there? And what and why not just put\Neverything out there, whether it's
Dialogue: 0,0:45:07.51,0:45:13.08,Default,,0000,0000,0000,,relevant or not? And why not just mud up\Nthe whole system? So, you know, I'm
Dialogue: 0,0:45:13.08,0:45:16.52,Default,,0000,0000,0000,,really interested in this idea of like\Ncreating our own archives. Do you know
Dialogue: 0,0:45:16.52,0:45:20.11,Default,,0000,0000,0000,,this building? This is the AT&T data\Ncenter in San Francisco at the corner of
Dialogue: 0,0:45:20.11,0:45:23.48,Default,,0000,0000,0000,,2nd and Folsom. This is a project that\Nthey call Hawkeye, which is actually
Dialogue: 0,0:45:23.48,0:45:30.31,Default,,0000,0000,0000,,AT&T's internal code name for this data\Ncenter. And shortly before 2007, about a
Dialogue: 0,0:45:30.31,0:45:35.20,Default,,0000,0000,0000,,little over 10 years ago, there were,\Nthere was a whistleblower though, that
Dialogue: 0,0:45:35.20,0:45:41.97,Default,,0000,0000,0000,,came forward. It was in room 641a of this\Nbuilding, which... Basically, what
Dialogue: 0,0:45:41.97,0:45:46.05,Default,,0000,0000,0000,,happened is: The NSA approached 16 telecom\Ncompanies in the US and said: "We'd like
Dialogue: 0,0:45:46.05,0:45:51.82,Default,,0000,0000,0000,,to copy your data stream." And 15 of the\N16 said: "Sure, help yourself, you know,
Dialogue: 0,0:45:51.82,0:45:55.26,Default,,0000,0000,0000,,make yourself at home." There's only one\Ncompany, that said: "You know. We're not
Dialogue: 0,0:45:55.26,0:45:59.22,Default,,0000,0000,0000,,really sure the legalities of this. Can\Nyou come back with a warrant and tell us
Dialogue: 0,0:45:59.22,0:46:03.07,Default,,0000,0000,0000,,what you're looking for? And we\Nwill provide it to you, if you can tell
Dialogue: 0,0:46:03.07,0:46:08.81,Default,,0000,0000,0000,,us what you want." But you know, you\Nhad, you had 15 of the 16 just say:
Dialogue: 0,0:46:08.81,0:46:14.22,Default,,0000,0000,0000,,"Yeah, go ahead." So what basically, what\Nhappened in, in 2007, not like, who
Dialogue: 0,0:46:14.22,0:46:21.71,Default,,0000,0000,0000,,knows, what it is now. But in 2007 it was\Nestimated, that there was 213 terabytes
Dialogue: 0,0:46:21.71,0:46:29.83,Default,,0000,0000,0000,,of phone records in this building. Every\Nphone record of every domestic call in the
Dialogue: 0,0:46:29.83,0:46:35.07,Default,,0000,0000,0000,,US was archived. And then of course\Nthere's multiple data centers. This is
Dialogue: 0,0:46:35.07,0:46:39.33,Default,,0000,0000,0000,,just one of many. Now who does that phone\Ncall belong to? You know, when you're
Dialogue: 0,0:46:39.33,0:46:42.74,Default,,0000,0000,0000,,calling grandma. Does that phone call,\Ndoes that information and that phone
Dialogue: 0,0:46:42.74,0:46:47.09,Default,,0000,0000,0000,,call, does that belong to you? Does that\Nbelong to Grandma? Or does that belong to
Dialogue: 0,0:46:47.09,0:46:51.84,Default,,0000,0000,0000,,the phone company and they're licensing\Nyou a one-time use of it? We don't, I
Dialogue: 0,0:46:51.84,0:46:55.65,Default,,0000,0000,0000,,mean again with this... Who\Nactually owns this data? So I was really
Dialogue: 0,0:46:55.65,0:46:59.26,Default,,0000,0000,0000,,interested in this and keeping it record.\NSo, I know, you know, while AT&T's
Dialogue: 0,0:46:59.26,0:47:03.45,Default,,0000,0000,0000,,keeping records, which is my\Nmobile phone provider in the US.
Dialogue: 0,0:47:03.45,0:47:07.33,Default,,0000,0000,0000,,Similarly, I'm keeping my own records.\NAnd this is all my, this is my log files
Dialogue: 0,0:47:07.33,0:47:11.49,Default,,0000,0000,0000,,of all the people that come by on my\Nwebsite. And you can see all of the folks.
Dialogue: 0,0:47:11.49,0:47:15.48,Default,,0000,0000,0000,,Let me show you a little bit cleaner\Nversion. And you can see all the
Dialogue: 0,0:47:15.48,0:47:19.49,Default,,0000,0000,0000,,lovely happy people, that come by, like,\Nthe terrorist screening center of the
Dialogue: 0,0:47:19.49,0:47:24.51,Default,,0000,0000,0000,,Central Intelligence Agency or the, you\Nknow, the National Geospatial-
Dialogue: 0,0:47:24.51,0:47:29.30,Default,,0000,0000,0000,,Intelligence Agency. I don't know why they\Ncome by. I mean, I, I'm glad that they
Dialogue: 0,0:47:29.30,0:47:35.72,Default,,0000,0000,0000,,like art. I'm glad we have patrons of the\Narts in, in these organizations. Because,
Dialogue: 0,0:47:35.72,0:47:38.57,Default,,0000,0000,0000,,you know, I mean, like, they come by\Nfrequently enough. I'm not really sure
Dialogue: 0,0:47:38.57,0:47:42.37,Default,,0000,0000,0000,,what they're doing. But I'm glad, I'm\Nglad they like what I do. But, so, I
Dialogue: 0,0:47:42.37,0:47:47.18,Default,,0000,0000,0000,,really have to thank one particular\Nperson for making my art career possible.
Dialogue: 0,0:47:47.18,0:47:51.39,Default,,0000,0000,0000,,And that would be Dick Cheney. Because if\Nit was not for Dick Cheney, I would not
Dialogue: 0,0:47:51.39,0:47:54.62,Default,,0000,0000,0000,,be here talking to you. None of this would\Nbe possible without Dick Cheney. I mean,
Dialogue: 0,0:47:54.62,0:47:57.66,Default,,0000,0000,0000,,really, I mean, you know, he's really\Nresponsible for a lot of things that have
Dialogue: 0,0:47:57.66,0:48:01.71,Default,,0000,0000,0000,,happened recently. So thank you, Dick\NCheney. If you're, if you're listening,
Dialogue: 0,0:48:01.71,0:48:05.21,Default,,0000,0000,0000,,which you probably are, because you know\Neverything and you are, you know, you have
Dialogue: 0,0:48:05.21,0:48:12.02,Default,,0000,0000,0000,,your people. Anyway. So a few years ago,\NI said, well, about 2010 I moved to the, I
Dialogue: 0,0:48:12.02,0:48:15.49,Default,,0000,0000,0000,,start–, I took a job at the University of\NMaryland, which is in College Park. When I
Dialogue: 0,0:48:15.49,0:48:18.14,Default,,0000,0000,0000,,say Maryland, most people assume we're in\NBaltimore. Because that's the main city
Dialogue: 0,0:48:18.14,0:48:22.61,Default,,0000,0000,0000,,in Maryland. But we're actually closer to\NWashington DC. So you can see, so there's
Dialogue: 0,0:48:22.61,0:48:28.02,Default,,0000,0000,0000,,College Park, that's, that's where I work.\NThis is the FBI headquarters. This is the
Dialogue: 0,0:48:28.02,0:48:34.74,Default,,0000,0000,0000,,CIA. This is the NSA. You triangulate the\Nthree, it ends up on my campus. So it's
Dialogue: 0,0:48:34.74,0:48:37.17,Default,,0000,0000,0000,,only appropriate, you know, it's, and\Nplus, you know, we have this budget
Dialogue: 0,0:48:37.17,0:48:40.58,Default,,0000,0000,0000,,problem in the US right now. So I'm,\Nlike, helping them out. It's like, you
Dialogue: 0,0:48:40.58,0:48:43.34,Default,,0000,0000,0000,,know: "Guys, can I help you, guys? Can I\Nhelp you out by moving in like right next
Dialogue: 0,0:48:43.34,0:48:47.36,Default,,0000,0000,0000,,to you, so you don't have to waste your\Nresources?" By the way, vice.com ranked
Dialogue: 0,0:48:47.36,0:48:51.38,Default,,0000,0000,0000,,us "The Most Militarized University In\NAmerica". We're number one. And then
Dialogue: 0,0:48:51.38,0:48:53.74,Default,,0000,0000,0000,,we're not number one at football or\Nanything. It takes a while for that sort
Dialogue: 0,0:48:53.74,0:48:57.48,Default,,0000,0000,0000,,of stuff. But most militarized, that's\Npretty easy. We can do that. Let me show
Dialogue: 0,0:48:57.48,0:49:00.49,Default,,0000,0000,0000,,you a little bit about ... So it's an\Namazing place. DC is, Washington DC is a
Dialogue: 0,0:49:00.49,0:49:05.67,Default,,0000,0000,0000,,great place to be. Problem is, real estate\Nis really, really, really expensive. Like
Dialogue: 0,0:49:05.67,0:49:08.83,Default,,0000,0000,0000,,housing is really, you know, it's a\Ncompany town. I mean, like, why else would
Dialogue: 0,0:49:08.83,0:49:12.54,Default,,0000,0000,0000,,you need to live there unless, you know,\Nyou're working in government? So while,
Dialogue: 0,0:49:12.54,0:49:15.55,Default,,0000,0000,0000,,you know, real estate prices in other\Nparts of the country go up and down,
Dialogue: 0,0:49:15.55,0:49:19.08,Default,,0000,0000,0000,,Washington just keeps going up and up and\Nup and up and up. So, you know, it's been
Dialogue: 0,0:49:19.08,0:49:23.36,Default,,0000,0000,0000,,good. But then I found this piece of land\Nin St. Michael's. Now if you look over
Dialogue: 0,0:49:23.36,0:49:27.62,Default,,0000,0000,0000,,here, it says, the average listing price\Nin the zip code, which is the, the postal
Dialogue: 0,0:49:27.62,0:49:33.97,Default,,0000,0000,0000,,code in that area, is 797303 dollars. This\Nwas back in 2010. You know, 800000
Dialogue: 0,0:49:33.97,0:49:38.84,Default,,0000,0000,0000,,dollars at that time average. And then I\Nfound this piece of land for only 74000
Dialogue: 0,0:49:38.84,0:49:43.04,Default,,0000,0000,0000,,bucks. I was like: "I want this. I want\Nthis. I want this. I'm gonna ..." I know,
Dialogue: 0,0:49:43.04,0:49:45.92,Default,,0000,0000,0000,,it's like I need to do something. And\Nit's about an hour and a half away from
Dialogue: 0,0:49:45.92,0:49:49.32,Default,,0000,0000,0000,,work, which is a bit ... But, you know,\Nit's possible. Anyway, so this is where
Dialogue: 0,0:49:49.32,0:49:53.20,Default,,0000,0000,0000,,the house is over there. It goes \Nfurther up. So it's a piece of land, it's a
Dialogue: 0,0:49:53.20,0:49:56.21,Default,,0000,0000,0000,,beautiful place. I mean, you see the\Nnature and all that. It's that weird
Dialogue: 0,0:49:56.21,0:50:00.28,Default,,0000,0000,0000,,oblong shape over there. You see that\Nlittle driveway with the nice trees and
Dialogue: 0,0:50:00.28,0:50:03.41,Default,,0000,0000,0000,,that house in the water? That belongs to\Nthis guy.
Dialogue: 0,0:50:03.41,0:50:06.55,Default,,0000,0000,0000,,{\i1}slight laughter in the audience{\i0}\NSo, and let me take you around the
Dialogue: 0,0:50:06.55,0:50:11.77,Default,,0000,0000,0000,,neighborhood for a little bit. So \Nthis is, this is his gate. This is his
Dialogue: 0,0:50:11.77,0:50:17.45,Default,,0000,0000,0000,,driveway. He drives up this way. He\Nhas a five car garage. Two of those
Dialogue: 0,0:50:17.45,0:50:21.70,Default,,0000,0000,0000,,garages go back pretty deep. This is\Nswimming pool. We're gonna hang out here
Dialogue: 0,0:50:21.70,0:50:25.92,Default,,0000,0000,0000,,over the summers, hang out, you know,\Nwe'd gonna throw some parties. This is his
Dialogue: 0,0:50:25.92,0:50:33.88,Default,,0000,0000,0000,,front room. This is his kitchen. This is\Nwhere he sleeps. And this is where we're
Dialogue: 0,0:50:33.88,0:50:39.61,Default,,0000,0000,0000,,gonna plot world domination. We're gonna\Nhang out and eat yellowcake up there. So
Dialogue: 0,0:50:39.61,0:50:43.33,Default,,0000,0000,0000,,this is the place. I'm hoping to\Nbuild this. This is what I was trying to
Dialogue: 0,0:50:43.33,0:50:46.54,Default,,0000,0000,0000,,build. But the listing just kind of\Ndisappeared. It literally just
Dialogue: 0,0:50:46.54,0:50:50.35,Default,,0000,0000,0000,,disappeared. And I'm convinced it's, so,\Nyou know, it's like he kind of does that
Dialogue: 0,0:50:50.35,0:50:54.14,Default,,0000,0000,0000,,to people, too. I'm glad he just did it to\Nthe listening and not to me. But, you
Dialogue: 0,0:50:54.14,0:50:57.64,Default,,0000,0000,0000,,know, it wasn't withdrawn, it wasn't\Nsold, it just like disappeared. So these
Dialogue: 0,0:50:57.64,0:51:00.23,Default,,0000,0000,0000,,days, it has become like this really\Nconceptual project, where I'm actually
Dialogue: 0,0:51:00.23,0:51:03.67,Default,,0000,0000,0000,,painting them. And then I'm photographing\Nthe paintings. So this is what I'm
Dialogue: 0,0:51:03.67,0:51:07.44,Default,,0000,0000,0000,,actually showing. So, you know,\Nit's... So, okay. Here's my thing. So,
Dialogue: 0,0:51:07.44,0:51:11.20,Default,,0000,0000,0000,,look, here's a man, Dick Cheney, with not\Nonly are you dealing with the former vice
Dialogue: 0,0:51:11.20,0:51:15.65,Default,,0000,0000,0000,,president. You're dealing with the former,\Nyou deal with the former CEO of
Dialogue: 0,0:51:15.65,0:51:22.13,Default,,0000,0000,0000,,Halliburton. Like every ... This man has\Nevery motivation to be secret. This man,
Dialogue: 0,0:51:22.13,0:51:29.76,Default,,0000,0000,0000,,money is no object. And yet, if I can show\Nyou, where he sleeps and where he eats
Dialogue: 0,0:51:29.76,0:51:33.98,Default,,0000,0000,0000,,and where he swims, I mean, what can he\Nknow about us? I mean, I'm completely
Dialogue: 0,0:51:33.98,0:51:37.93,Default,,0000,0000,0000,,self-trained in this. I'm not even, I'm\Nnot even like, you know, I'm not even like
Dialogue: 0,0:51:37.93,0:51:42.02,Default,,0000,0000,0000,,that, that tech-savvy in this. I mean, I\Njust kind of, just like duct-tape things
Dialogue: 0,0:51:42.02,0:51:47.61,Default,,0000,0000,0000,,together to find things, whatever I\Nneeded. But what do entire companies and
Dialogue: 0,0:51:47.61,0:51:53.11,Default,,0000,0000,0000,,corporations and countries, that really\Nhave the motivation to dig through our
Dialogue: 0,0:51:53.11,0:51:57.69,Default,,0000,0000,0000,,information, what can they get about us?\NSo I'd like to leave you with this, that,
Dialogue: 0,0:51:57.69,0:52:01.22,Default,,0000,0000,0000,,you know, we really need to come up with\Na different idea and a different
Dialogue: 0,0:52:01.22,0:52:06.45,Default,,0000,0000,0000,,interpretation and a different meaning of\Nwhat privacy in the 21st century means.
Dialogue: 0,0:52:06.45,0:52:11.54,Default,,0000,0000,0000,,This is no longer, we can no longer \Nafford to use the same definitions
Dialogue: 0,0:52:11.54,0:52:16.59,Default,,0000,0000,0000,,of privacy that we used 50 years ago. Or\Na hundred years ago. Or 200 years ago. Or
Dialogue: 0,0:52:16.59,0:52:20.62,Default,,0000,0000,0000,,even just five years ago or even just last\Nweek. We need to have a much more
Dialogue: 0,0:52:20.62,0:52:24.76,Default,,0000,0000,0000,,adaptive and open idea what this means to\Nus. And for each of us, this will mean,
Dialogue: 0,0:52:24.76,0:52:28.39,Default,,0000,0000,0000,,mean something differently. So I want to\Nleave you with that. And thank you very
Dialogue: 0,0:52:28.39,0:52:32.17,Default,,0000,0000,0000,,much and I'm happy to take some\Nquestions.
Dialogue: 0,0:52:32.17,0:52:38.26,Default,,0000,0000,0000,,{\i1}applause{\i0}\NHerald: Thank you, Hasan.
Dialogue: 0,0:52:38.26,0:52:43.40,Default,,0000,0000,0000,,Hasan: Thank you! Welcome!\NHerald: It's a fantastic adventure to be
Dialogue: 0,0:52:43.40,0:52:51.45,Default,,0000,0000,0000,,always on the run and at the same time,\Nactually, yeah, they're running for you
Dialogue: 0,0:52:51.45,0:52:54.01,Default,,0000,0000,0000,,now.\NHasan: A little bit. They come by. You
Dialogue: 0,0:52:54.01,0:52:56.18,Default,,0000,0000,0000,,know, I try to be friends with them.\NHerald: Yeah, that's good.
Dialogue: 0,0:52:56.18,0:52:58.74,Default,,0000,0000,0000,,Hasan: You know, they're not, they're\Nactually not that, they're not very, they
Dialogue: 0,0:52:58.74,0:53:02.23,Default,,0000,0000,0000,,don't like, they don't want to be friends.\NThey just like, they just like to watch
Dialogue: 0,0:53:02.23,0:53:06.15,Default,,0000,0000,0000,,from a distance.\NHerald: You think that Dick Cheney will
Dialogue: 0,0:53:06.15,0:53:10.04,Default,,0000,0000,0000,,allow parties at your house?\NHasan: I'm trying. Yeah. We're gonna have
Dialogue: 0,0:53:10.04,0:53:11.73,Default,,0000,0000,0000,,a shooting range in the back\NHerald: Like it's good.
Dialogue: 0,0:53:11.73,0:53:13.94,Default,,0000,0000,0000,,Hasan: Yeah, it'll be a lot of fun.
Dialogue: 0,0:53:13.94,0:53:16.32,Default,,0000,0000,0000,,Herald: I'm looking forward.\NHasan: Do you have a question?
Dialogue: 0,0:53:16.32,0:53:23.09,Default,,0000,0000,0000,,Q: Yeah, thanks for the talk. You\Nmentioned ways that you are ... kind of
Dialogue: 0,0:53:23.09,0:53:27.66,Default,,0000,0000,0000,,anticipated things that now we kind of\Ntake very common. Is there any way in
Dialogue: 0,0:53:27.66,0:53:34.16,Default,,0000,0000,0000,,which your art practice has evolved or\Nresponded to having a newer, younger
Dialogue: 0,0:53:34.16,0:53:38.89,Default,,0000,0000,0000,,generation of students year over year in\Nyour classes, for whom Instagram or selfie
Dialogue: 0,0:53:38.89,0:53:41.52,Default,,0000,0000,0000,,sticks might be just second nature to\Nthem?
Dialogue: 0,0:53:41.52,0:53:45.95,Default,,0000,0000,0000,,Hasan: Yeah. You know, I think it's\Nreally interesting watching how people of
Dialogue: 0,0:53:45.95,0:53:49.71,Default,,0000,0000,0000,,different generations react to this.\NBecause, you know, I think a lot of it
Dialogue: 0,0:53:49.71,0:53:53.01,Default,,0000,0000,0000,,also has to do with the way we\Ncommunicate. I mean, there was a very
Dialogue: 0,0:53:53.01,0:53:56.58,Default,,0000,0000,0000,,specific generation that would write a\Nletter. And then you had a generation
Dialogue: 0,0:53:56.58,0:54:00.96,Default,,0000,0000,0000,,that would write, you know, that would\Ncall. And then you have text. And then
Dialogue: 0,0:54:00.96,0:54:04.01,Default,,0000,0000,0000,,you have people that write you over email.\NAnd you have people that will only text
Dialogue: 0,0:54:04.01,0:54:06.82,Default,,0000,0000,0000,,you. I mean, we were seeing that and\Nwe're, and, and we're actually living in
Dialogue: 0,0:54:06.82,0:54:09.80,Default,,0000,0000,0000,,that right now. Because we actually deal\Nwith certain different types of people
Dialogue: 0,0:54:09.80,0:54:13.78,Default,,0000,0000,0000,,that only deal with different modes of\Ncommunication. So I really think in, that
Dialogue: 0,0:54:13.78,0:54:17.30,Default,,0000,0000,0000,,it's ... The interesting thing is though\Nthat time is compressed. Because we've
Dialogue: 0,0:54:17.30,0:54:21.31,Default,,0000,0000,0000,,only had people that communicate over\Nwriting for hundreds of years. Then we
Dialogue: 0,0:54:21.31,0:54:26.38,Default,,0000,0000,0000,,would have people that only communicated\Nand phoned for maybe 30 to 50, maybe a
Dialogue: 0,0:54:26.38,0:54:30.12,Default,,0000,0000,0000,,little longer. And then, now we only have\Nthat like in the last 5 years we've had
Dialogue: 0,0:54:30.12,0:54:33.59,Default,,0000,0000,0000,,this. And then now, down to like one year.\NSo who knows what the next method will
Dialogue: 0,0:54:33.59,0:54:38.89,Default,,0000,0000,0000,,be? But I really think a lot of it has to\Ndo with this adaptation. I think a lot of
Dialogue: 0,0:54:38.89,0:54:43.18,Default,,0000,0000,0000,,the things really interesting is this\Nidea of like, like migration and, you
Dialogue: 0,0:54:43.18,0:54:47.57,Default,,0000,0000,0000,,know, the whole immigration topics are\Nsome real hot topic politically right now.
Dialogue: 0,0:54:47.57,0:54:50.82,Default,,0000,0000,0000,,But I think we also need to think \Nabout this from a digital perspective.
Dialogue: 0,0:54:50.82,0:54:55.24,Default,,0000,0000,0000,,Because, you know, we turn, we tend to use\Nthe word digital native a lot. But we
Dialogue: 0,0:54:55.24,0:54:59.43,Default,,0000,0000,0000,,never actually use the word digital\Nimmigrant. But yet that's all of us in
Dialogue: 0,0:54:59.43,0:55:03.00,Default,,0000,0000,0000,,some way. I mean, very few of us...\NI mean there, yes, there are
Dialogue: 0,0:55:03.00,0:55:06.95,Default,,0000,0000,0000,,certain, there is a certain generation\Nthat is 100% digital from day one. But
Dialogue: 0,0:55:06.95,0:55:11.36,Default,,0000,0000,0000,,for most of us, at least of a certain\Nage, we are all digital immigrants. And I
Dialogue: 0,0:55:11.36,0:55:15.52,Default,,0000,0000,0000,,think that, that type of shift, I think\Nthat type of understanding of it, I think
Dialogue: 0,0:55:15.52,0:55:21.14,Default,,0000,0000,0000,,it has an impact and particularly\Nin terms of dealing with
Dialogue: 0,0:55:21.14,0:55:25.73,Default,,0000,0000,0000,,learning and dealing with education, you\Nknow. At what point is it a natively
Dialogue: 0,0:55:25.73,0:55:37.58,Default,,0000,0000,0000,,learned skill versus a naturalised, a\Nmigratory type of an action. So. Hopefully
Dialogue: 0,0:55:37.58,0:55:41.49,Default,,0000,0000,0000,,that answers that you're talking about,\Nyeah. Do you have another question? ...
Dialogue: 0,0:55:41.49,0:55:48.81,Default,,0000,0000,0000,,Yeah?\NQ: Just ... have they ever asked
Dialogue: 0,0:55:48.81,0:55:51.07,Default,,0000,0000,0000,,you to stop?\NHasan: No, no there's no law against
Dialogue: 0,0:55:51.07,0:55:54.33,Default,,0000,0000,0000,,talking too much. Because if there was a\Nlaw against talking too much, we'd all be
Dialogue: 0,0:55:54.33,0:55:57.71,Default,,0000,0000,0000,,in trouble. But you know, but this is\Ninteresting. Because they're very much
Dialogue: 0,0:55:57.71,0:56:04.78,Default,,0000,0000,0000,,about, there ... It's very much a \None-way direction. They're not about,
Dialogue: 0,0:56:04.78,0:56:08.73,Default,,0000,0000,0000,,they don't editorialize, they don't\Nprovide opinion. They only take
Dialogue: 0,0:56:08.73,0:56:14.70,Default,,0000,0000,0000,,information. They ask you questions and\Nthey take information. So you could answer
Dialogue: 0,0:56:14.70,0:56:20.28,Default,,0000,0000,0000,,them with one word or you could answer\Nthem with millions. And I've just decided
Dialogue: 0,0:56:20.28,0:56:24.69,Default,,0000,0000,0000,,that I'm gonna keep talking, keep\Ntalking to them. I'm a relatively, you
Dialogue: 0,0:56:24.69,0:56:30.19,Default,,0000,0000,0000,,know, I think cooperative person. I'd like\Nto be helpful, you know. But really, what
Dialogue: 0,0:56:30.19,0:56:34.71,Default,,0000,0000,0000,,it is, it's really, it's, defiance \Nthrough compliance. It's
Dialogue: 0,0:56:34.71,0:56:38.56,Default,,0000,0000,0000,,this level of aggressive compliance. And\Nat a certain point, I try to be so
Dialogue: 0,0:56:38.56,0:56:41.30,Default,,0000,0000,0000,,helpful, that I'm completely not \Nhelpful at all.
Dialogue: 0,0:56:41.30,0:56:45.33,Default,,0000,0000,0000,,{\i1}slight laughter in the audience{\i0}\NSo thank you, thank you for the question.
Dialogue: 0,0:56:45.33,0:56:51.49,Default,,0000,0000,0000,,{\i1}applause{\i0}\NHerald: Thank you very much. Is there, is
Dialogue: 0,0:56:51.49,0:56:53.45,Default,,0000,0000,0000,,there ... Oh, there's a question from the\Ninternet!
Dialogue: 0,0:56:53.45,0:56:55.94,Default,,0000,0000,0000,,Hasan: No, oh, okay. Nobody else? Okay,\Ngreat.
Dialogue: 0,0:56:55.94,0:56:58.38,Default,,0000,0000,0000,,Herald: Is there an FBI agent in there to\Nhave a drink, maybe?
Dialogue: 0,0:56:58.38,0:57:04.24,Default,,0000,0000,0000,,Hasan: Yeah that'd be great. Yeah yeah.\NHerald: Why not? Yeah.
Dialogue: 0,0:57:04.24,0:57:07.50,Default,,0000,0000,0000,,Hasan: I'm sure, I'm sure there's people\Nfrom some government organization at this
Dialogue: 0,0:57:07.50,0:57:09.68,Default,,0000,0000,0000,,place. So, you know, let's get a drink\Nlater together.
Dialogue: 0,0:57:09.68,0:57:12.03,Default,,0000,0000,0000,,Herald: Okay, let's have one. Thank you\Nvery much!
Dialogue: 0,0:57:12.03,0:57:14.59,Default,,0000,0000,0000,,Hasan: See you guys. Thank you so much,\Nthanks.
Dialogue: 0,0:57:14.59,0:57:17.68,Default,,0000,0000,0000,,Herald: Don't forget to help us all to\Nclean this all up.
Dialogue: 0,0:57:17.68,0:57:29.96,Default,,0000,0000,0000,,{\i1}34C3 Music{\i0}
Dialogue: 0,0:57:29.96,0:57:40.29,Default,,0000,0000,0000,,subtitles created by c3subtitles.de\Nin the year 2020. Join, and help us!