Art That Lets You Talk Back to NSA Spies | Mathias Jud | TED Talks

74,393 views ・ 2015-11-20

TED


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A year ago, we were invited by the Swiss Embassy in Berlin
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to present our art projects.
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We are used to invitations, but this invitation really thrilled us.
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The Swiss Embassy in Berlin is special.
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It is the only old building in the government district
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that was not destroyed during the Second World War,
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and it sits right next to the Federal Chancellery.
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No one is closer to Chancellor Merkel than the Swiss diplomats.
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(Laughter)
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The government district in Berlin also contains the Reichstag --
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Germany's parliament -- and the Brandenburg Gate,
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and right next to the gate there are other embassies,
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in particular the US and the British Embassy.
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Although Germany is an advanced democracy,
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citizens are limited in their constitutional rights
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in its government district.
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The right of assembly and the right to demonstrate are restricted there.
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And this is interesting from an artistic point of view.
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The opportunities to exercise participation and to express oneself
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are always bound to a certain order
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and always subject to a specific regulation.
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With an awareness of the dependencies of these regulations,
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we can gain a new perspective.
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The given terms and conditions shape our perception, our actions
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and our lives.
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And this is crucial in another context.
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Over the last couple of years,
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we learned that from the roofs of the US and the British Embassy,
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the secret services have been listening to the entire district,
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including the mobile phone of Angela Merkel.
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The antennas of the British GCHQ are hidden in a white cylindrical radome,
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while the listening post of the American NSA
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is covered by radio transparent screens.
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But how to address these hidden and disguised forces?
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With my colleague, Christoph Wachter,
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we accepted the invitation of the Swiss Embassy.
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And we used this opportunity to exploit the specific situation.
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If people are spying on us, it stands to reason
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that they have to listen to what we are saying.
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(Laughter)
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On the roof of the Swiss Embassy, we installed a series of antennas.
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They weren't as sophisticated as those used by the Americans and the British.
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(Laughter)
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They were makeshift can antennas,
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not camouflaged but totally obvious and visible.
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The Academy of Arts joined the project,
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and so we built another large antenna on their rooftop,
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exactly between the listening posts of the NSA and the GCHQ.
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(Laughter)
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Never have we been observed in such detail while building an art installation.
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A helicopter circled over our heads
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with a camera registering each and every move we made,
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and on the roof of the US Embassy, security officers patrolled.
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Although the government district is governed by a strict police order,
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there are no specific laws relating to digital communication.
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Our installation was therefore perfectly legal,
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and the Swiss Ambassador informed Chancellor Merkel about it.
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We named the project "Can You Hear Me?"
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(Laughter)
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The antennas created an open and free Wi-Fi communication network
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in which anyone who wanted to would be able to participate
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using any Wi-Fi-enabled device without any hindrance,
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and be able to send messages
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to those listening on the frequencies that were being intercepted.
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Text messages, voice chat, file sharing --
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anything could be sent anonymously.
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And people did communicate.
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Over 15,000 messages were sent.
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Here are some examples.
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"Hello world, hello Berlin, hello NSA, hello GCHQ."
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"NSA Agents, Do the Right Thing! Blow the whistle!"
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"This is the NSA. In God we trust. All others we track!!!!!"
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(Laughter)
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"#@nonymous is watching #NSA #GCHQ - we are part of your organizations.
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# expect us. We will #shutdown"
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"This is the NSA's Achilles heel. Open Networks."
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"Agents, what twisted story of yourself will you tell your grandchildren?"
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"@NSA My neighbors are noisy. Please send a drone strike."
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(Laughter)
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"Make Love, Not cyberwar."
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We invited the embassies and the government departments
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to participate in the open network, too,
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and to our surprise, they did.
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Files appeared on the network, including classified documents
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leaked from the parliamentary investigation commission,
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which highlights that the free exchange and discussion of vital information
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is starting to become difficult, even for members of a parliament.
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We also organized guided tours to experience and sound out
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the power constellations on-site.
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The tours visited the restricted zones around the embassies,
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and we discussed the potential and the highlights of communication.
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If we become aware of the constellation,
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the terms and conditions of communication,
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it not only broadens our horizon,
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it allows us to look behind the regulations that limit our worldview,
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our specific social, political or aesthetic conventions.
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Let's look at an actual example.
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The fate of people living in the makeshift settlements
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on the outskirts of Paris
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is hidden and faded from view.
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It's a vicious circle.
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It's not poverty, not racism, not exclusion that are new.
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What is new is how these realities are hidden
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and how people are made invisible
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in an age of global and overwhelming communication and exchange.
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Such makeshift settlements are considered illegal,
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and therefore those living in them don't have a chance
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of making their voices heard.
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On the contrary, every time they appear, every time they risk becoming visible,
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merely gives grounds for further persecution,
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expulsion and suppression.
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What interested us was how we could come to know this hidden side.
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We were searching for an interface and we found one.
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It's not a digital interface, but a physical one: it's a hotel.
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We named the project "Hotel Gelem."
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Together with Roma families, we created several Hotel Gelems in Europe,
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for example, in Freiburg in Germany, in Montreuil near Paris,
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and also in the Balkans.
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These are real hotels.
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People can stay there.
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But they aren't a commercial enterprise.
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They are a symbol.
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You can go online and ask for a personal invitation
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to come and live for a few days in the Hotel Gelem, in their homes,
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eating, working and living with the Roma families.
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Here, the Roma families are not the travelers;
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the visitors are.
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Here, the Roma families are not a minority;
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the visitors are.
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The point is not to make judgments,
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but rather to find out about the context that determines
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these disparate and seemingly insurmountable contradictions.
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In the world of globalization,
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the continents are drifting closer to each other.
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Cultures, goods and people are in permanent exchange,
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but at the same time, the gap between the world of the privileged
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and the world of the excluded is growing.
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We were recently in Australia.
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For us, it was no problem to enter the country.
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We have European passports, visas and air tickets.
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But asylum seekers who arrive by boat in Australia
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are deported or taken to prison.
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The interception of the boats
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and the disappearance of the people into the detention system
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are veiled by the Australian authorities.
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These procedures are declared to be secret military operations.
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After dramatic escapes from crisis zones and war zones,
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men, women and children are detained by Australia without trial,
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sometimes for years.
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During our stay, however,
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we managed to reach out and work with asylum seekers who were imprisoned,
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despite strict screening and isolation.
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From these contexts was born an installation in the art space
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of the Queensland University of Technology in Brisbane.
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On the face of it, it was a very simple installation.
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On the floor, a stylized compass gave the direction
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to each immigration detention center,
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accompanied by the distance and the name of the immigration facility.
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But the exhibition step came in the form of connectivity.
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Above every floor marking, there was a headset.
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Visitors were offered the opportunity to talk directly to a refugee
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who was or had been imprisoned
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in a specific detention facility
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and engage in a personal conversation.
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In the protected context of the art exhibition,
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asylum seekers felt free to talk about themselves,
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their story and their situation, without fear of consequences.
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Visitors immersed themselves in long conversations
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about families torn apart, about dramatic escapes from war zones,
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about suicide attempts,
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about the fate of children in detention.
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Emotions ran deep. Many wept.
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Several revisited the exhibition.
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It was a powerful experience.
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Europe is now facing a stream of migrants.
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The situation for the asylum seekers is made worse by contradictory policies
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and the temptation of militarized responses.
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We have also established communication systems
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in remote refugee centers in Switzerland and Greece.
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They are all about providing basic information -- weather forecasts,
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legal information, guidance.
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But they are significant.
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Information on the Internet
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that could ensure survival along dangerous routes
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is being censored,
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and the provision of such information is becoming increasingly criminalized.
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This brings us back to our network and to the antennas
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on the roof of the Swiss Embassy in Berlin
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and the "Can You Hear Me?" project.
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We should not take it for granted to be boundlessly connected.
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We should start making our own connections,
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fighting for this idea of an equal and globally interconnected world.
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This is essential to overcome our speechlessness
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and the separation provoked by rival political forces.
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It is only in truly exposing ourselves
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to the transformative power of this experience
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that we can overcome prejudice and exclusion.
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Thank you.
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(Applause)
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Bruno Giussani: Thank you, Mathias.
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The other half of your artistic duo is also here.
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Christoph Wachter, come onstage.
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(Applause)
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First, tell me just a detail:
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the name of the hotel is not a random name.
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Gelem means something specific in the Roma language.
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Mathias Jud: Yes, "Gelem, Gelem" is the title of the Romani hymn,
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the official, and it means "I went a long way."
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BG: That's just to add the detail to your talk.
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But you two traveled to the island of Lesbos
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very recently, you're just back a couple of days ago,
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in Greece, where thousands of refugees are arriving
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and have been arriving over the last few months.
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What did you see there and what did you do there?
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Christoph Wachter: Well, Lesbos is one of the Greek islands close to Turkey,
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and during our stay,
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many asylum seekers arrived by boat on overcrowded dinghies,
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and after landing, they were left completely on their own.
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They are denied many services.
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For example, they are not allowed to buy a bus ticket
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or to rent a hotel room,
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so many families literally sleep in the streets.
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And we installed networks there to allow basic communication,
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because I think, I believe,
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it's not only that we have to speak about the refugees,
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I think we need to start talking to them.
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And by doing so, we can realize that it is about human beings,
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about their lives and their struggle to survive.
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BG: And allow them to talk as well.
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Christoph, thank you for coming to TED.
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Mathias, thank you for coming to TED and sharing your story.
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(Applause)
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