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the rodina

THE MANUAL

THE TRAININGF O R F U T U R E C R I M I N A L S

design d isp lacement group

BADASSBAU

HAUS

the rod inaworkshop

9 - 12 may 2014

THE TRAIN INGFOR FUTURECRIMINALS

des ign d isp lacement group

OpEN ON yOUR OwN RESpONSIbIL ITy

BADASSBAU

HAUS

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chapter 1

THE LOOK

WHAT TO DO

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chapter 2

THE LOOK

WHAT TO DO

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COOLSTUF

TECHCRIME

chapter 3

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COOLSTUF

TECHCRIME

chapter 4

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4. TAKE A TRIbAL TATTOO

THE LOOKAND

BEHAV-IOUR

1. ALwAyS SwEAR

2. LOVE SATAN

3. LISTEN TO bLACK METAL

5.TRAIN bICEpS

6. FIND yOUR bONNIE OR CLyDE pARTNER

7. TAKE A GANG bADGEOR JACKET

AL CApONE STyLETIp: SUIT ALwAyS GOOD

Al Capone was a notorious gangster who ran an organi-zed crime syndicate in Chicago during the 1920s, taking advantage of the era of prohibition.

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1. Steal wallets2. Do an hold-up3. blow-up something4. be violent

2. Do an hold-up!

3. blow-up something!

4. be violent!

W H A T TO DO

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TECHNOLOGY

IS THIS A PHONE ?

COOLSTUFF

69,99 €

59,99 €

39,99 €

A pEN ? NOOO !IT’S A Spy pEN !

A wATCH ? NO !IT’S A CAMERA !

NO !IT’S A LETHAL wEApON !

T E A M P L A Y

FRIENDS MEAN FUN

STARTYOUR OWN MAFIA

YOU ? TOGETHER YOU CAN :

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A NICELOGO

IS WHAT YOU WILL NEED

THIS ONE ?NO !!!

YES !!!

SO COOL !

IT’S A DRAGON

YOUR COMPANY

MORE MONEY

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TECHCRIME

THE CORE

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b e s i d e t h e science, war-fare and space rese-arch, the cr i -me is one of the most in-novat ive part of human cul-ture. Only wel l designed cr imes can be c o m m i t t e d success fu l l y . Try to d is-place your-sel f to the ro le of a cr i -minal of 21 century .

Think and research: How development of technology can change the o ld fashioned cr i-me? Uncover undisco-vered potent ia l f ie lds of cr iminal act ing. propo-se how the h i- tech can be used to commit cr i -me. Invent t r icks and cheats, which are not restr icted by law. And turn your super v i l la in abi l i t ies to v is ionary design.

M a k e p e r f o r m a n c e , booklet , websi te , iden-t i ty , tool , weapon etc…

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The aesthe-tics of crimeLike any good detective story, art history is filled with enig-mas, myths, and riddles wai-ting to be unraveled. Solving these intellectual puzzles is a common pleasu-re and few are immune to such a cultural temptation.

Although the link between art and crime can be traced back to ancient times, Tho-mas De Quincey explicitly theorized this connection in his notorious essay “On Mur-der Considered As One Of The Fine Arts” (1827). The nineteenth century also saw the growing importance of photography both in the de-velopment of criminology and in the new sensationalism of the tabloid press—two phe-nomena that popularized the genre of the detective story. Cinema soon became the perfect medium for capturing the dubious charm of violen-ce and transforming it into pleasurable images.

Following De Quincey’s iro-nic proposal to analyze mur-der from an aesthetic point of view, The Crime was Almost perfect is an exhibi-tion that invokes the spirits of visual art, architecture, ci-nema, criminology, and the modern crime genre, trans-

forming the rooms of witte de with and the streets of Rotterdam into multiple ‘crime scenes’.beyond crime, there is Evil. Thus The Crime was Almost perfect necessarily examines the relati-onship between ethics and aesthetics. Questio-ning the role of authorship, authenticity, trickery, and fraud, the exhibition blurs the dichotomy bet-ween ‘good’ and ‘bad’ taste, while also highlighting the double bind of ‘crime as art’ and ‘art as crime’.

Some of the works in the exhibition reflect the de-tective’s obsessive curiosity and interpretation, the narcissistic identification with the criminal, as well as the spectator’s fetishistic pleasure. A few pro-jects deal with authenticity and frauds that could be considered as ‘art crimes’; some play with the artist’s role as subversive and marginal; others with law, order, and transgression; certain projects tend to represent crime as macabre and sublime as in the cinematic; while a few proposals provide evidence of public historical events—social, political crimes. A few projects could be said to combine selections of these main tendencies.Eva Grubinger puts up a flag and a brass plaque on the facade of witte de with, turning it into the Em-bassy of Eitopomar, a utopian kingdom ruled by the evil master villain Dr. Mabuse. Close to the entrance desk, a wall painted by Jean-Luc blanc resembles the cover of a pulp magazine signed with the show’s title. Monica bonvicini presents a large hanging sculpture resembling something like a macabre ca-rousel of harnesses casted in black fluid rubber. The ductility of the harnesses seems to combine sexual desire with the exploitative force of labour where protection turns into torment. “why is desire always linked to crime?”, a quote from Karl Holmqvist’s film, will be constantly on the spectators’ mind, whereas Rupert Norfolk’sGuillotine represents the ultimate symbol of capital punishment, a disquieting presen-ce that remains emblematic. In the film Murder in Three Acts, Asli Çavusoglu mimics the television cri-me genre (exemplified by the series Crime Scene In-vestigation) showcasing exhibitions as crime scenes and art works as weapons, while Fabian Marti le-

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aves imprints of his hands throughout the gallery spaces. Gabriel Lester creates a ci-nematographic loop of crime scenes in a park and projects it onto the surrounding walls and on the visitor, fetishizing violent images. Installation ad-dressing Jean Genet’s life and work as a writer, an activist, and a thief, while Dora Garcia invites the audience to steal a book. A monumental installa-tion by Kader Attia evokes an oppressive labyrinth where images from his own private collection of newspapers and comic strips repeatedly de-pict the non-western person as a beast or monster—like in the manipulations underta-ken by colonialist propaganda. Jim Shaw ironically portrays businessmen as zombies through a set of paintings and a film, while Saâdane Afif pre-sents the Centre pompidou as a coffin softly killing the museum.

The crime was almost perfect, 2014http://www.wdw.nl/event/the-crime-was-almost-perfect/

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if you control the code, you control

the world.

A vision of crimes in the future, Marc Goodman, www.ted.com

SAMpLING pOSTpRODUCTIONSMUGGLINGbORDERS3D-pRINTED wEApONSpRIVACyCOpyRIGHTHACKINGDRONESINTERNETDNANAROTICSbIG DATApLAGIARISMUNCREATIVITy

FUTURE CRIME T O p I C S

if you control the code, you control

the world.19

Drone used in attempt to smuggle drugs into Melbourne prison, say police!A man will face court next week after a drone quadcop-ter was allegedly used to try to smuggle drugs into a Mel-bourne prison.police were called to reports of a drone hovering over the Metropolitan Remand Cent-re in Ravenhall about 4.30pm on Sunday.

Officers found a man and woman in a car nearby with what is believed to be a four-engined drone and a small quantity of drugs.

A 28-year-old Lalor man has been charged with posses-sing a drug of dependence and attempting to commit an indictable offence.He has been bailed to ap-pear in Melbourne magis-trates court next Monday.David McCauley, acting in-dustrial officer for the prison officer’s vocational branch of the public Service Asso-ciation, said this was just the

latest in a long lines of method for getting drugs over walls.

“At the end of the day if they can throw tennis balls over the wall with drugs in them, and with staffing levels the way they are, it’s going to be very difficult to stop these drones,” he said.

The use of drones, or UAVs (unmanned aerial vehi-cles) is regulated by the Civil Aviation Safety Au-thority. The rules require that uncertified operators maintain a distance of 30m between the drone and other people.A spokesman for the Civil Aviation Safety Authority said it was unclear as to whether the drone at Ra-venhall might have contravened these rules.

“If we were to get evidence of that we could look at whether an infringement notice could be issued, ho-wever at this point we’ve got no knowledge of where the machine flew in regards to people,” he said.A recent parliamentary roundtable on drones and privacy heard from a number of expert witnesses about the proliferation of drones in Australia.

brad Mason, secretary of the Australian Certified UAV Operators Association, told the committee:

“From our perspective, what we are seeing is that there is a lot of illegal and unauthorised use of UAVs. we understand that the regulator is doing its best to try and combat that but, unfortunately, as the director mentioned before, they are so easily available and so cheap to buy these days that anybody can buy one and anyone can go out and operate one.

“It is really difficult to regulate, manage and catch tho-se people,” he said.It’s not the first time remote-control helicopters have

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been used to smuggle con-traband into prisons. In 2013, four people were arrested after a helicopter was used to smuggle tobacco into a pri-son in the US.

Another drone incident oc-curred at a Canadian prison when a security alert was set off by a drone. Two years ear-lier, Russian police reportedly confiscated a remote-control-led helicopter and 700g of heroin, apparently foiling an attempt to deliver the drugs to a prison inmate. In 2009, a remote-controlled helicopter was spotted carrying a pack-age over the walls of a UK prison.

Nick Evershed, 2014http://www.theguardian.com/wor-ld/2014/mar/10/drone-used-in-at-tempt-to-smuggle-drugs-into-mel-bourne-prison-say-police

crime is always faster than police and law

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Dealing crack, there’s an app for that too!well it was just a matter of time before somebody figu-red this one out. Recently an iphone developer created an application known as “Drug Lords,” a program that would enable both drug-dealers and users to find one another in real time and space, thanks to the mobile phone’s built-in GpS chip. Hats off to the drug dealers who are on the cutting edge of two of the very latest trends in technology ac-cording to Gartner Research: mobile computing and locati-on-based services. The application allows drug dealers to post prices for narcotics such as cocaine, ecstasy and marijuana. A convenient built-in calculator automatically determines the prices in gram increments. prices can be set by location, so that the price offered in bo-gota is cheaper than than in New york or paris. Moreover, the dealer’s prices are visible to their potential clients from within the app and can be ad-justed in real-time in response to supply and demand.Upon launching the app, drug-users can graphically view the location of all the nearest drug dealers on a lo-vely Google map and dealer

and client can each navigate to each other to com-plete the buy. The app even allows for price compa-risons between dealers and prices can be further ne-gotiated by exchanging private messages between pusher and purchaser. The app even has an effi-cient reputation management system built-in so that clients can provide feedback on their dealers, allo-wing for comparison of quality and service. “1 star only for Fast Freddy—that powder he sold me was baking powder. There goes $100 down the drain! Avoid Freddy at all costs—he’s a cheat.” what an efficient marketplace! So why on earth would Apple allow such an app to be sold in iTunes? Turns out, they did not. Apple rejected the application multiple times noting that “anything that involved the traffic-king of illegal commodities would not pass the bar or be accepted for sale.” The app developer, A-Steri-ods, thus far has not been able to sell “DrugLords” via iTunes. A-Steriods claims that DrugLords was never intended as an actual drug dealing application, but rather was meant only as a game. A-Steroids main-tains that DrugLords was an example of a new class of social gaming known as an lbmorpg (location-ba-sed multiplayer online role playing game). Since all the features described above actually worked as advertised, DrugLords could have been used for ac-tual narco sales. A-Steroids insisted, however, that the app was purely a role playing game in which players competed to become the most successful drug dealer by selling the greatest amount of “virtual” narcotics. Not one to give up easily, A-Steroids repe-atedly submitted DrugLords to the iTunes store and was repeatedly rejected. Ultimately, they rebranded the game as “Underworld: Sweet Deal.” while all the basic features and objectives of “DrugLords” re-mained in tact, cocaine, heroine and marijuana were replaced by another form of addiction: sugar. Thus Drugwars morphed into Underworld and “crack” and “weed” became “donuts” and “lollipops.” Since street drugs are often referred to by their slang na-mes such as horse, candy and chips, does the chan-ge really make any difference? In Underworld, we see pretty cartoon pictures of menacing mob-like

“chefs” delivering “donuts” instead of crack. Of cour-

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se Underworld could still be used for actual drug-dealing if for example it was agreed and known that a lollipop was a hit of ecstasy. Name substi-tution is common practice in the narco trade: after all, how many crack addicts ask their dealer for cocaine hydrochlo-ride or benzoylmethyl ecgo-nine? Many have argued that crime-related games, such as Grand Theft Auto are “bad,” especially for children. I am not particularly concerned about gaming and the virtu-al fantasy versions of “cops and robbers” many played as kids. what is of concern, however, is the potential cre-ation of a new form of mobile, location-based criminality in the form of an iphone appli-cation. while A-Steroids’ in-tention in creating DrugLords may have actually been for gaming purposes, the appli-cation itself could have re-al-world criminal benefit.In our next article, we will address what an actual de-dicated location-based crime app might look like, how law enforcement could use such an app for investigative pur-poses and how criminals will circumvent iTunes store in the future to avoid the problems faced by the developers of DrugLords.

http://www.futurecrimes.com/article/dealing-crack-theres-an-ap-for-that/

Guerilla open access manifestoInformation is power. but like all power, there are those who want to keep it for themselves. The wor-ld’s entire scientific and cultural heritage, published over centuries in books and journals, is increasingly being digitized and locked up by a handful of private corporations. want to read the papers featuring the most famous results of the sciences? you’ll need to send enormous amounts to publishers like Reed Elsevier.

There are those struggling to change this. The Open Access Movement has fought valiantly to ensure that scientists do not sign their copyrights away but in-stead ensure their work is published on the Internet, under terms that allow anyone to access it. but even under the best scenarios, their work will only apply to things published in future.

Everything up until now will have been lost. That is too high a price to pay. Forcing academics to pay money to read the work of their colleagues? Scanning entire libraries but only allowing the folks at Google to read them?

providing scientific articles to those at elite univer-sities in the First world, but not to children in the Global South? It’s outrageous and unacceptable.

“I agree,” many say, “but what can we do? The com-panies hold the copyrights, they make enormous amounts of money by charging for access, and it’s perfectly legal — there’s nothing we can do to stop them.” but there is something we can, something that’s already being done: we can fight back.

Those with access to these resources — students, librarians, scientists — you have been given a privi-lege. you get to feed at this banquet of knowledge while the rest of the world is locked out. but you need not — indeed, morally, you cannot — keep this

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privilege for yourselves. you have a duty to share it with the world. And you have: trading passwords with colleagues, filling download requests for friends.

Meanwhile, those who have been locked out are not stan-ding idly by. you have been sneaking through holes and climbing over fences, libera-ting the information locked up by the publishers and sharing them with your friends.

but all of this action goes on in the dark, hidden under-ground. It’s called stealing or piracy, as if sharing a wealth of knowledge were the mo-ral equivalent of plundering a ship and murdering its crew. but sharing isn’t immoral — it’s a moral imperative. Only those blinded by greed would refuse to let a friend make a copy.

Large corporations, of cour-se, are blinded by greed. The laws under which they opera-te require it — their sharehol-ders would revolt at anything less. And the politicians they have bought off back them, passing laws giving them the exclusive power to decide who can make copies.

There is no justice in following unjust laws. It’s time to come into the light and, in the grand tradition of civil disobedience,

declare our opposition to this private theft of public culture.

we need to take information, wherever it is stored, make our copies and share them with the world. we need to take stuff that’s out of copyright and add it to the archive. we need to buy secret databases and put them on the web. we need to download scientific journals and upload them to file sharing networks. we need to fight for Guerilla Open

with enough of us, around the world, we’ll not just send a strong message opposing the privatization of knowledge — we’ll make it a thing of the past. will you join us?

Aaron Swartz, 2008,Eremo, Italyhttps://archive.org/details/GuerillaOpenAccessManifesto

NINE designers who’s work you want to steal1.

4.

8.

2.

5.

9.

3.

7.

6.

work sheets

Design your own bitcoinFront

back

work sheets

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Draw your gang jacket

work sheets

STEAL THE NEW KINECT FROM THE MINESTERY

work sheets

The Design DisplacemenT group

“ (…) is not about being naïve or tryingto create a perfect world ; but it is about not being afraid to setup a new discourse ” * W W W . D e s i g n D i s p l a c e m e n T g r o u p . c o m *

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