The Conspiracy Capitaliser (2023)

The Conspiracy Capitaliser is a tool for investigating and understanding the intersection between AI, social media and profit. As a non-human participant, it allows the user to explore a wide spectrum of untruths which can be produced by AI systems and to experience, first-hand, the ethical dilemmas ahead of us as a technologically entangled society.

The Conspiracy Capitaliser emerged as a concept during the author’s investigation into the rise of right-wing activists on Irish social media in the years before the Coronavirus pandemic and throughout the lockdowns. Many of these actors tended to repeat conservative talking points and hashtags which generally came from media outlets and influencers in North America. As their messaging began to stagnate into amorphous tropes, each would try new talking points in an effort to be the one to break new conspiracy ground and attract more followers – as the de facto oracle of outrage. This became very apparent during the early stages of the lockdown, as these actors explored a variety of themes – 5G, GMOs, bioweapons, Bill Gates – in desperate efforts to be the one with the “answer” and a new army of followers.

Working with Tactical Tech and teaching their Exposing The Invisible Toolkit to journalists and researchers in Dublin at the end of 2019, taught me to “follow the money” – even where it didn’t seem to be a factor – in any investigation. As I mapped the social networks of conspiracy influencers and their consumers, I began to notice a definite hierarchy ranging from the big name international “producers”, to the smaller national “localisers” and repeaters of conspiracies, down to the larger group of “consumers” who reshared these nuggets for social media likes and prestige. Throughout these networks, money was being made at varying degrees. At the top are large content producers with high production values and broad revenue streams, and further down are the smaller “localisers” asking for GoFundMe donations for their services.

Many of these producers recognised that they had an eager and somewhat credulous audience at their disposal and began to diversify into selling somewhat related products and services through their channels – including vitamin supplements, homoeopathic remedies, bitcoin advice, survival gear and multi-level marketing opportunities, amongst others. In some cases, it was hard to tell which came first – the conspiracy or the capitalism. 

Through these investigations and observations, it became clear that the marketplace of conspiracies and outrage – like any marketplace – was often a means to an end for profit. The cognitive dissonance experienced from seeing individuals generating and repeating contradictory narratives began to resolve itself under the light of capitalism – never question or kill the Golden Goose; treat it well, feed it and make sure it is comfortable and undisturbed by rationalities.

In this moment of comprehension, I imagined a device which sat on a CEO’s desk and allowed them to tap into this zeitgeist by being able to generate new controversies to feed the outraged and advertise their wares, without having to climb down into the fetid trenches.

The Conspiracy Capitaliser has been made possible by the advent of accessible AI and Large Language Models (LLM).

The Conspiracy Capitaliser come with the following features:

  • Dial into your consumers by their age, politics, credulousness and emotional state.
  • Select from a series of hot political topics to guarantee contention and conversation.
  • Choose from a curated list of established conspiracy classics – from fake moon landings to QAnon.
  • Automatically weaves your product into the message and distributes online – no need to engage directly with the public.

Featured:

Black Box II: Posthuman Networks (2022-)

The ADS BlackBox™ is the first in a series of devices and interfaces that don’t care about you.

Inspired by data centres, modular synths and server racks, this is the first in a series of artefacts exploring posthuman interfaces, how we relate to them and how human and non-human networks manifest themselves.

The Contestation Café (2022)

The Contestation Manifesto and its associated paraphernalia are artefacts from a speculative, near-future community action known as the Contestation Café. Being one in a series of research through design projects on contestation, the Contestation Café is a critical, yet also practical, design intervention rooted in how the act of repair has moved through the physical into the digital, and the shared values therein. 

Tracing the history of electronic repair – from the early valve radios, the invention of the transistor, microchips, programmable devices and through to IoT, connected devices and the “fluid assemblages” that emerge – we can see the shared values of the physical act of repair with the more intangible act of contestation in the digital world of algorithmic systems. Overlaying the values and tactics of the Right to Repair movement with the emerging concerns around data-driven systems we find ourselves examining the Repair Café as a potential model for community contestation and the construction of publics. 

The Repair Café started in Amsterdam in 2009 and has since spread to 35 countries with over 1700 instances of these cafés. The Repair Café is not intended to be a place where you bring your broken appliances for someone else to repair – rather, it is a place where you learn how to repair and recycle your own products and devices, and – more importantly – a place where you simply learn that things can be fixed rather than thrown out. 

In a similar spirit, the Contestation Café would be a place for those who feel mistreated by automated decision systems, AIs and algorithms, to bring their broken interactions and their unfair decisions to learn how to contest, push back and reclaim their agency and autonomy. 

Rather than Repairers, the Contestation Café has a panel of Fixers – people who inhabit the space between designers and users, with a particular knowledge of these systems and how to map and navigate them – who are there to share their experience and knowledge, and to guide the user in the ways of contestation and to become Fixers of their own futures.

Although the Contestation Café is a speculative concept based on research into the shared values of contestation and repair, it has developed a life of its own through the process of imagining how it would work and what it would look like. Through the act of writing a manifesto for contestation, the space has manifested itself in the present and is waiting only for the fixers and public to arrive. 

Plans are already in progress for its first real instance and all of the imagined artefacts presented here will inform this process.

Robert Collins and Johan Redström. 2022. The Contestation Café: A Manifesto for Contestation: Prototyping an agonistic place. In Nordic Human-Computer Interaction Conference (NordiCHI ’22). Association for Computing Machinery, New York, NY, USA, Article 77, 1. https://doi.org/10.1145/3546155.3547290

https://stwst48x10.stwst.at/en/the_contestation_cafe

https://www.4tu.nl/du/columns/The%20Contestation%20Caf%C3%A9

https://www.umu.se/en/events/a-critical-perspective-on-application-of-algorithmic-decision-systems_11988145

Touring Exhibition Production

Planning, management and installation of global touring ArtScience exhibitions for Science Gallery Dublin, Venice and Science Gallery International.

Exhibition layout and narrative.
Artist and venue liaison.
Art handling & Installation.
3D Design.
Logistics management.
Crew hire and scheduling.

Dublin / Leipzig / Davos / Barcelona / New York / Miami / Singapore / Stockholm / San Francisco / Portland / Rome / Houston / Guangzhou / Peru / New Zealand / Venice

Insert Here, To Fix Everything (2019)

This project was a response to the Science Gallery Dublin PLASTIC exhibition.

A challenging way to visualise usage of recycling bins for the duration of this exhibition.

Hacked bathroom scales and laser sensors were placed inside each recycling bin in the gallery. This data was made available online for public access and visualisation.

The screen showed a large grassy field and blue sky, over which a mysterious black hole hovered.
Each time a bin was used within the gallery, a random piece of rubbish would fall from the sky and settle in the grass. A reminder not to forget about your waste after you bin it and to question the underlying infrastructures and stakeholders in recycling.

Inspired by Evgeny Morozov’s book To Save Everything, Click Here: The Folly Of Technological Solutionism, it is an interactive meditation on solutionism, smart tech, the sentient city, the Internet of Things & recycling.

[Tech: Processing/NodeRed/AdafruitIO/ESP8266/electronic scales/motion sensor]

Space Station Tracker (2018)

Found inside a decaying farmhouse in the West of Ireland, we did not know what this strange device was, or who had built it.

After weeks of careful restoration, it was finally switched on. Motors began turning and the ancient digital readout showed the number “6”.

The point where the needles crossed on the map made slow sinusoidal paths from East to West, repeating in variations. When the path came close to the device’s origin, the red light flashed and something inside clicked…

The Space Station Tracker is a retrospeculative piece from an alternate reality that is very similar to ours. A reality where the Cathode Ray Tube was never invented and data is represented in a more raw format. A reality full of Folk-Tech and Information Furniture.

This piece of furniture tracks the movements of manned spacecraft across the heavens and counts the amount souls inside these craft.

[Tech: Arduino/Stepper Motors/Raspberry Pi/Python/Nixie Tubes]

64 Things To Worry About v3.0 (2017)

64 Things To Worry About (2017)

64 Things To Worry About was a response to the saturation of news media and the inherent biases of click-bait headlines, social media and editorial pressures in the digital frontier.

This piece consists of a matrix of colour changing lights set in a frame that can be hung on the wall in a prominent position.

Each light changes colour across a spectrum of green to red, and each light represents an existential threat to the future of the world. Earthquakes, radioactivity, solar radiation, global warming and the use of certain critical words on social and news media are all represented.

What is displayed is a general heat map of the state of the world.

Rather than trying to read between the lines on multiple news sources to gauge how you should feel about the future each day, a quick glance at this interface can tell you if you can go ahead with your life, or maybe stay at home with your loved ones today.

[Tech: Arduino/ESP8266/RGB LEDs/Data gathering cloud server]

Black Box I: LOQ (2015)

LOQ (2015)

The LOQ was the basis for an exploration of Critical Design and Adversarial Design for my MSc in Interactive Media at UL. A means to develop a new design methodology for public engagement.

Situating itself in the nexus between desirable technology, solutionism, government/tech partnerships and emerging privacy concerns, the LOQ was used as a speculative design to be explored in a series of practical workshops and discussion.

LOQ is presented as a smart lock which is being rolled out nationwide by a government, financial and private tech partnership. It promises to provide secure access to your residence by using a digital fingerprint from your unique interactions across the internet. Necessary smartphones are provide free-of-charge. Just tap your phone on your door and – conditions being satisfied – your door will open.

The LOQ also provides a solution to the housing crisis by monitoring how well it believes that you can afford to live in your current home, by monitoring your income and spending patterns. Rooms may be automatically sublet to help you through a rough patch or you may even be moved to more affordable accommodation if LOQ deems it necessary. Everyone in their right place.

Using visual and physical prototyping, the LOQ was explored through a series of workshops and the underlying issues and potential were revealed. Participants had opportunities to redesign, combat and, most importantly, see the effects of solutionism and digital hegemony from other people’s perspectives.

LOQ is the beginning of an exploration of Adversarial Design, iteration and taking art from the white room into a more discursive space.

Hussein Minni Wa Ana Min Hussein – Rana Hamadeh – EVA16

Hussein Minni Wa Ana Min Hussein - Rana Hamadeh - EVA16

This exhibit was built for a concept by the artist Rana Hamadeh and commissioned by EVA International in 2014.

Using three large LED signs, I programmed a play, written by the artist, into a computer which then played the characters dialogue out on the signs.

Over 1200 lines of code and hours of testing went into producing this installation.

It showed at EVA 2014 and went on to show at numerous venues afterwards.

One.Some.Many – Carsten Höller – EVA18

One.Some.Many (2016)

This piece was produced for the artist Carsten Höller, commissioned by the EVA Biennial in 2016.

The artist’s concept was to use voice recognition to produce a response which could be taken to the next location to produce another response. This could continue from location to location until you returned to the first.

Each location would recognise a single word which would trigger another word as response.

Using voice recognition and vocal training, each installation ran on a Mac Mini and contained its own microphone and speakers.

It was installed at three locations (Limerick City Gallery of Art, The Hunt Museum & Cleere’s) throughout the run of EVA International 2016.