[00:02.440 --> 00:04.120]  And you would be the next presenter.
[00:04.360 --> 00:04.640]  I am, yes.
[00:04.940 --> 00:04.940]  Excellent.
[00:05.440 --> 00:08.400]  I do need a video connection.
[00:09.660 --> 00:10.060]  VGA.
[00:10.280 --> 00:10.680]  VGA?
[00:10.900 --> 00:11.060]  Yeah.
[00:11.420 --> 00:11.520]  Yep.
[00:13.240 --> 00:14.700]  Oh, wait, you don't have one?
[00:14.980 --> 00:16.440]  Yeah, I mean, I need a cable.
[00:16.660 --> 00:16.800]  Yep.
[00:17.060 --> 00:17.440]  Okay, right here.
[00:17.720 --> 00:17.900]  Okay.
[00:19.000 --> 00:20.800]  Probably best work off the podium.
[00:21.000 --> 00:21.560]  Is that possible?
[00:22.380 --> 00:23.000]  I can.
[00:23.380 --> 00:23.460]  Yeah.
[00:23.540 --> 00:23.660]  Okay.
[00:24.260 --> 00:25.400]  Well, although, let's see.
[00:25.500 --> 00:29.780]  You know what, I'm going to put the computer here because I'm actually going to be, my text is on the iPad.
[00:29.780 --> 00:30.660]  Oh, perfect.
[00:30.900 --> 00:33.500]  I'll just reach down and... And are you doing audio?
[00:34.660 --> 00:36.900]  I'm speaking, but there's no audio.
[00:37.140 --> 00:38.060]  There's no pre-record audio.
[00:38.280 --> 00:38.640]  No pre-record.
[00:38.840 --> 00:39.000]  Yeah.
[00:40.300 --> 00:40.740]  Okay.
[00:43.380 --> 00:45.020]  And do you want a glass of water?
[00:45.320 --> 00:46.100]  That would be excellent.
[00:46.260 --> 00:46.720]  Yeah, thank you.
[01:16.360 --> 01:16.740]  All right.
[01:16.840 --> 01:17.200]  Thanks for that.
[01:17.780 --> 01:18.280]  Oh, my God.
[01:25.230 --> 01:25.450]  Yeah.
[01:25.750 --> 01:25.950]  Okay.
[01:26.190 --> 01:26.450]  Nice.
[01:26.910 --> 01:27.170]  All right.
[01:27.390 --> 01:27.710]  All right.
[01:27.990 --> 01:28.250]  Good.
[01:29.310 --> 01:29.750]  Secure.
[01:30.150 --> 01:30.150]  No audio.
[01:30.390 --> 01:32.350]  And just kind of drink some.
[01:38.610 --> 01:40.250]  There will be no intros.
[01:40.350 --> 01:40.510]  All right.
[01:40.510 --> 01:41.870]  So you can start anytime you want.
[01:41.910 --> 01:42.150]  All right.
[01:42.390 --> 01:43.670]  I'm going to wait a few minutes.
[01:43.890 --> 01:44.050]  Yeah.
[01:45.450 --> 01:45.890]  Yeah.
[01:53.770 --> 01:54.210]  Hey.
[01:54.950 --> 01:55.390]  Good.
[01:56.390 --> 02:01.470]  They left me off the printed schedule on the wall out there, so I was a little freaked out, but it's all good.
[02:02.130 --> 02:02.550]  Yeah.
[02:04.710 --> 02:05.250]  Your thing?
[02:07.430 --> 02:07.810]  Yeah.
[02:08.850 --> 02:09.870]  Your badge?
[02:11.050 --> 02:27.410]  Unless... Unless... Unless... Unless there's...
[02:32.070 --> 02:32.070]  Yeah.
[02:33.570 --> 02:34.790]  It'll be better on this side.
[02:34.910 --> 02:35.350]  It'll look better.
[03:24.390 --> 03:24.930]  All right.
[03:25.010 --> 03:27.870]  So I'll just wait another minute or so.
[03:28.130 --> 03:34.470]  And if you're here for my presentation, you will definitely want to get a pair of 3D glasses.
[03:36.670 --> 03:37.970]  There's somebody over by the door.
[03:38.590 --> 03:40.710]  So if you don't have a pair, go ahead and grab one.
[04:02.470 --> 04:08.710]  And the view will probably be slightly better on this side of the room because it's... There's a lot of slides.
[04:10.110 --> 04:12.670]  So... And the 3D will definitely be better.
[05:03.740 --> 05:04.260]  Okay.
[05:04.460 --> 05:04.720]  Welcome.
[05:07.360 --> 05:09.960]  Once again, 3D glasses.
[05:10.200 --> 05:11.540]  Gina over by the door has them.
[05:11.960 --> 05:13.080]  Get them while they're hot.
[05:20.010 --> 05:20.530]  Okay.
[05:22.590 --> 05:31.230]  So... Just out of curiosity, how many of you had a pair of these red blue 3D glasses already before you came here at home or whatever?
[05:32.190 --> 05:32.490]  Okay.
[05:33.250 --> 05:35.790]  I want to see how many 3D nerds there are in the audience.
[05:36.430 --> 05:37.230]  My people.
[05:39.610 --> 05:40.850]  Another survey question.
[05:41.150 --> 05:44.990]  How many of you guys have created PGP encryption keys for yourself?
[05:46.950 --> 05:47.450]  Okay.
[05:47.790 --> 05:48.970]  A good number.
[05:49.110 --> 05:49.670]  That's what I expected.
[05:50.250 --> 05:51.770]  How many are in both groups?
[05:52.310 --> 05:54.810]  You've got the 3D glasses and you've got the PGP keys.
[05:54.930 --> 05:55.110]  Okay.
[05:55.270 --> 05:55.550]  Nice.
[05:55.850 --> 05:57.570]  This is definitely the place for you.
[05:58.570 --> 06:02.270]  That's a very... The intersection of that Venn diagram is very small.
[06:04.770 --> 06:05.430]  Okay.
[06:05.690 --> 06:12.310]  In 2002, I started an electronic music and performance art project under the pseudonym Max Klaxon.
[06:12.750 --> 06:26.050]  It was kind of a response to September 11th, xenophobia, paranoia, and the ways in which those phenomena encourage authoritarianism and militarism.
[06:26.750 --> 06:32.990]  Max Klaxon is a persona that I assume that's sort of an electropop dictator, I guess you could say.
[06:33.690 --> 06:38.110]  My shows have a mix of music, spoken word, projected visuals.
[06:38.910 --> 06:42.790]  And what I've been working on for a few years now is making the visuals 3D.
[06:44.750 --> 06:49.510]  The idea is everybody will get 3D glasses at the show, kind of like Kraftwerk does.
[06:51.990 --> 06:55.110]  And maybe I'll get to perform at HOPE 2016.
[06:55.910 --> 07:01.290]  I'm going to put in a pitch for that because I do these satires of the presidential election.
[07:01.470 --> 07:05.310]  But anyway, I'm here to talk mostly about the 3D, obviously.
[07:06.750 --> 07:09.870]  I started experimenting with 3D about four years ago.
[07:10.390 --> 07:15.050]  There's a community of artists and photographers and filmmakers doing this.
[07:15.450 --> 07:17.190]  It's kind of the 3D underground.
[07:17.190 --> 07:19.550]  It's very different from what Hollywood does with 3D.
[07:20.050 --> 07:26.050]  And the barriers to entry have gotten very low with digital technology and software.
[07:27.290 --> 07:37.070]  I did some images in 2011 that were kind of a study of the way that stereoscopic vision works.
[07:37.990 --> 07:44.470]  And the idea that our depth perception is kind of an act of imagination in a way that our brains are constantly performing.
[07:45.970 --> 07:50.490]  So the picture on the left is kind of a more or less a straight 3D picture.
[07:51.030 --> 08:03.770]  The one on the right is the same picture that's been sort of transformed and deconstructed and scrambled to kind of explicitly highlight the limitations of our depth perception abilities.
[08:04.450 --> 08:05.690]  I did a whole series of these.
[08:05.810 --> 08:11.710]  This one is William Gibson, who I was lucky enough to get to take a 3D picture of.
[08:14.270 --> 08:16.410]  I've done a bunch of other 3D projects.
[08:17.170 --> 08:21.610]  There's a video piece that I did recently, and I'm going to show you a series of images from that.
[08:21.710 --> 08:27.870]  You're not going to see much here, but as I cycle through them, you're going to start to get a feeling of depth.
[08:29.450 --> 08:31.310]  And gradually it resolves.
[08:33.670 --> 08:41.950]  In spite of the blockiness and the low resolution of some of these images, your brain's depth perception abilities are still there.
[08:42.410 --> 08:46.570]  And you're getting something.
[08:46.870 --> 08:55.470]  Now, there are some people in the population, estimates are between 2 and 12 percent, who are basically stereo blind.
[08:56.450 --> 08:59.270]  They don't have much depth processing ability.
[08:59.550 --> 09:04.630]  So 3D images, artificial 3D images like this, are not going to do much for you if you're one of those people.
[09:04.690 --> 09:08.890]  And you probably know that already because you've probably gone to a 3D movie and just been annoyed.
[09:12.030 --> 09:14.290]  You're one of those people and I feel for you.
[09:15.670 --> 09:28.290]  But anyway, this principle here of information transmission, signal versus noise, is something that really intrigued me.
[09:29.990 --> 09:37.910]  But let me jump forward a little bit and talk about what the motivation for this project was.
[09:39.170 --> 09:42.230]  I'm sure you guys, if you're here, you've been paying attention.
[09:43.190 --> 09:49.970]  And, you know, I don't have to talk a lot about this, but two observations.
[09:50.730 --> 09:55.990]  A lot of this bulk surveillance that's going on, I think, happens just because they can.
[09:56.170 --> 09:57.130]  It's very easy.
[09:58.030 --> 10:07.130]  You know, back when we were sending paper letters, you would have to steam an envelope open and, you know, read the letter and put it back in there if you wanted to secretly check it out.
[10:07.250 --> 10:09.130]  But now it's extremely easy.
[10:10.050 --> 10:25.550]  So I think there's obviously political and legal things that need to happen, but also technologically, if we just make it hard again to read our mail, they're going to have to work for it and not take it for granted that they can just vacuum it all up.
[10:25.550 --> 10:33.390]  So the more people become empowered to understand how to use encryption, I think, the better off we are.
[10:33.610 --> 10:38.650]  And part of the motivation of this project was to kind of evangelize a little bit about that.
[10:39.290 --> 10:47.250]  A second observation is that we know that a lot of the surveillance has been metadata collection.
[10:47.550 --> 10:51.470]  They want to know who's talking to who, when, how often, for how long, etc.
[10:53.150 --> 10:55.350]  And that, of course, can reveal quite a bit itself.
[10:56.550 --> 11:01.750]  So we can encrypt the content of our communications, but what can we do about the metadata?
[11:04.150 --> 11:11.550]  Well, there are certain things that people have historically done to disguise what we would call the metadata of their messages.
[11:11.790 --> 11:20.010]  You can hide who's sending the message, you can hide who's receiving the message, and sometimes you can even hide the fact that the message is being sent at all.
[11:21.230 --> 11:26.770]  And so, as I was thinking about this project, as I was getting started, I thought about some historical examples.
[11:28.790 --> 11:32.930]  One of them would be the numbers station.
[11:34.530 --> 11:36.790]  I'm sure a lot of you guys have heard of numbers stations.
[11:36.950 --> 11:42.530]  These are shortwave radio stations that broadcast mysterious messages, usually just reading numbers.
[11:42.530 --> 11:42.630]  numbers.
[11:43.050 --> 11:44.550]  They've been around for decades.
[11:44.830 --> 11:52.830]  No government has ever officially acknowledged them, but they're definitely there for the purpose of communicating with spies in the field.
[11:54.050 --> 11:57.430]  And they are a form of one-to-many communication.
[11:57.710 --> 12:05.970]  Anybody can hear the broadcast, but only a select few understand what it means, and there's no way to identify who's actually receiving the message.
[12:09.330 --> 12:25.930]  Another one-to-many communications technique that has been used for secret purposes is newspapers, and the idea of taking out a personal ad that contains some kind of message, and somebody, one of the thousands of people who reads that paper is going to see that ad,
[12:25.990 --> 12:27.110]  and they're going to know what it means.
[12:28.710 --> 12:36.010]  And there again, the person who is sending the message and the person who's receiving the message is they're both obscured.
[12:37.490 --> 12:42.850]  I have a Civil War era paper here because this was used by Confederate agents in the North.
[12:43.450 --> 12:51.270]  During the Civil War, they would place personal ads in various newspapers about what the Union Army was doing based on their observations.
[12:53.070 --> 13:05.270]  And if you do that particular method, well, you're even disguising the existence of the message because you're putting a personal ad in, and maybe it says something really innocuous, but in fact, it contains some key information.
[13:05.930 --> 13:13.990]  And of course, when you hide a message, when you make the message itself basically imperceptible, we call that steganography.
[13:15.650 --> 13:20.610]  Another historical example, and this is sort of semi-urban legend.
[13:20.910 --> 13:35.250]  We don't know if this has really happened, but there was a woman who was part of a spy ring organized by George Washington Washington during the Revolution who would hang certain items of clothing on her clothesline, and this was sending a signal to somebody who was watching.
[13:38.030 --> 13:40.470]  So that's actually sort of early steganography.
[13:41.370 --> 13:44.070]  Nowadays, you know, people do it differently.
[13:44.570 --> 13:47.590]  They encrypt messages into a JPEG and post it somewhere.
[13:49.190 --> 13:52.510]  But it's not a new technique in concept.
[13:53.030 --> 14:03.550]  And if you're interested in steganography, by the way, a friend of mine, Joshua Freed, is doing a talk in this room tomorrow at five on that subject and his sort of art project.
[14:04.870 --> 14:13.750]  But my piece is not really about steganography because I'm not hiding the fact that there is data hidden in these images that I made.
[14:13.990 --> 14:15.730]  It's obviously, there's obviously data there.
[14:16.590 --> 14:18.590]  So the question is, what does it say?
[14:21.230 --> 14:23.230]  I'm interested in information transmission.
[14:23.790 --> 14:33.670]  I was thinking about visual information transmission, how we can get a signal even from a very degraded image.
[14:36.970 --> 14:39.550]  Backing up a little bit, I thought I had that slide in here twice.
[14:41.150 --> 14:48.330]  But I think these images are fascinating because of how they both conceal and reveal information.
[14:48.550 --> 14:51.030]  And they show the things that our brains are doing.
[14:51.670 --> 15:02.530]  We have these pattern recognition circuits, basically, and we have depth perception circuits that are making sense out of these images and getting a lot out of it, even though there's not a lot there.
[15:04.190 --> 15:14.390]  So I wanted to combine these sort of studies in visual information transmission with the question of textual information transmission.
[15:15.010 --> 15:17.690]  And I wanted a snappy title.
[15:18.250 --> 15:35.750]  And so what I came up with is a quote from 1 Corinthians chapter 13, per speculum in enigmatae, which is Latin for through a glass darkly.
[15:36.330 --> 15:37.950]  You might have heard this passage.
[15:38.090 --> 15:40.090]  It gets read at weddings a lot.
[15:40.370 --> 15:49.110]  I was interested in sort of taking it out of context and using it, especially that last verse, because of the way it talks about perception.
[15:50.010 --> 15:53.130]  For now we see through a glass darkly, but then face to face.
[15:53.290 --> 15:56.570]  Now I know in part, but then I shall know even as I am known.
[15:58.670 --> 16:02.690]  And interesting thing about this, this is from 1 Corinthians.
[16:04.710 --> 16:09.290]  That verse, through a glass darkly, we sort of think of it as like looking through a dirty window or something.
[16:10.110 --> 16:11.670]  That's King James English.
[16:11.830 --> 16:16.230]  But what it really means in a modern idiom is in a mirror, dimly.
[16:18.210 --> 16:27.430]  And Corinth, the city of Corinth, to whom this book of the Bible was written as a letter, was famous in the ancient world for producing mirrors.
[16:28.110 --> 16:31.610]  They produced bronze mirrors, highly polished pieces of metal.
[16:32.730 --> 16:41.490]  And the people of Corinth would understand, you know, seeing something in a glass, in a mirror dimly, was imperfect.
[16:41.770 --> 16:46.490]  Because compared to a modern mirror, these were the best mirrors you could get, but they were still very imperfect.
[16:46.670 --> 16:48.370]  The image was fuzzy and dim.
[16:49.590 --> 16:52.770]  So metaphorically, that has a resonance.
[16:54.790 --> 16:58.030]  And I also, you know, when you put something in Latin, it's just kind of cooler.
[16:59.250 --> 17:00.950]  So it has a ring to it.
[17:01.090 --> 17:07.130]  And it has these sort of connotations of, you know, something speculative and enigmatic.
[17:07.850 --> 17:13.150]  And I got the chance to use that cool AE ligature there at the beginning, which is really cool.
[17:13.850 --> 17:14.290]  Okay.
[17:14.590 --> 17:19.490]  So what are the different technologies that I use to put this project together?
[17:19.490 --> 17:19.530]  So what are the things that I use to do with this project together?
[17:23.710 --> 17:34.650]  Obviously, if you've read any of the blurbs about this, I'm using PGP encryption, which is not what this slide shows.
[17:35.090 --> 17:36.730]  This is symmetric key encryption.
[17:36.850 --> 17:41.350]  This is the kind of old school encryption that's been used by people for thousands of years.
[17:41.510 --> 17:49.290]  You have a key, you encrypt your message with that key, and the person receiving the message has the same key, and they decrypt it.
[17:49.850 --> 17:56.870]  And as long as both people have the same key, and the adversary does not get the key, it works fine.
[17:59.410 --> 18:06.050]  And I'm just going to do a very quick review of PGP because some people may not know about it, and I don't really have time to go into the weeds with it.
[18:06.190 --> 18:10.390]  But it's a form of... PGP is a form of public key encryption.
[18:11.390 --> 18:20.630]  And this is useful in a situation where somebody wants to contact somebody else, wants to send them something secret, but they haven't shared a key.
[18:20.830 --> 18:22.670]  They don't have a shared key.
[18:23.390 --> 18:30.830]  And, you know, let's say you're a whistleblower, you want to contact a journalist, and you want to make sure that the message is not intercepted or read or whatever.
[18:32.270 --> 18:37.610]  You can use that person's public key, the recipient's public key, to encrypt the information.
[18:37.850 --> 18:39.950]  The public key cannot be used to decrypt it.
[18:40.070 --> 18:46.710]  Only the private key, which the individual recipient has, can be used to decrypt it.
[18:47.850 --> 18:51.710]  This works because of the mathematical relationship between the public key and the private key.
[18:51.830 --> 18:53.390]  They're two large numbers.
[18:54.070 --> 18:56.510]  It has to do with prime numbers being multiplied together.
[18:56.730 --> 18:59.510]  It's easier to multiply them together than it is to factor them.
[19:01.870 --> 19:05.990]  And, you know, but that's all technicalities that we don't need to talk about.
[19:07.450 --> 19:16.390]  The kind of most popular form of PGP software is called GPG, just to be cute and confusing.
[19:18.430 --> 19:24.230]  And it's available, you know, on pretty much all platforms, Linux, Windows, Mac, etc.
[19:26.750 --> 19:32.070]  It has graphic user interfaces and things, so it's pretty accessible to the layperson.
[19:33.030 --> 19:35.810]  But it's still, this is a complicated process.
[19:35.950 --> 19:39.330]  This is not intuitive to a lot of people, the concept of public key encryption.
[19:40.290 --> 19:50.770]  And since my project was partly supposed to evangelize that, I wanted to walk people through it, if they were new to the concept and to the process.
[19:51.250 --> 20:09.690]  So on the project website, which is a, which is a Tumblr that has all the images and some other information, I actually put together a series of very simple step-by-step instructions for Windows and Mac users to install the software, create encryption keys,
[20:10.070 --> 20:17.170]  import somebody else's public key if you want to send them a message, encrypt the text with their public key, and then how to decrypt text that's been sent to you.
[20:20.850 --> 20:24.010]  I wanted to, as I said, I wanted to make this accessible to people.
[20:24.070 --> 20:25.250]  I wanted to spread awareness.
[20:25.790 --> 20:32.990]  And so, you know, I use screenshots and everything and one particular workflow.
[20:33.070 --> 20:40.210]  It's not the only way to do it, but it's very simple and you can use it pretty much without installing any other software.
[20:42.990 --> 20:48.510]  So that covers the PGP side of the equation.
[20:48.710 --> 20:53.790]  Then I needed to visually encode this information if I was going to be creating images.
[20:54.270 --> 20:57.790]  And so I turned to the good old QR code.
[20:58.810 --> 21:02.370]  This is... QR codes go back to about 20 years.
[21:03.170 --> 21:08.070]  And basically just another kind of bar QR code that contains more information.
[21:08.870 --> 21:22.610]  At some point, advertisers got the idea that we would all really enjoy pulling out our smartphones, opening up an app, scanning an ad with a QR code in it, and then being directed to the company's website.
[21:24.170 --> 21:28.710]  Other companies realized that you could just put company.com on the ad and that would work just as well.
[21:30.210 --> 21:35.690]  But the QR code kind of looks cool and it is kind of fun the first few times.
[21:37.790 --> 21:43.370]  And in this context, because it's visual encoding, it was really perfect for what I was going to do.
[21:44.250 --> 21:48.710]  And in my research, I found that there were other artists who've been playing around with QR codes.
[21:49.110 --> 21:54.850]  This is a painter, Kyle Trowbridge, who has made these large scale QR code paintings.
[21:54.930 --> 21:56.750]  I think they're about four or five feet on a side.
[21:57.150 --> 21:59.210]  And they do actually contain information.
[22:00.170 --> 22:04.190]  Not web links, but different texts that you can read.
[22:05.870 --> 22:09.030]  And... Oh, thank you very much.
[22:09.910 --> 22:16.070]  This is a duo here, based here in New York, called Data Space Time.
[22:16.250 --> 22:20.170]  And this is their QR code mosaic portrait of Colonel Gaddafi.
[22:21.650 --> 22:25.450]  So... And supposedly each of these QR codes goes to a YouTube video.
[22:25.590 --> 22:26.430]  I haven't tried them out.
[22:26.490 --> 22:32.490]  I don't even know what the videos are, but... So that's really like a meta QR code artwork.
[22:34.490 --> 22:37.930]  Two relevant facts about QR codes for this project.
[22:38.790 --> 22:40.330]  There is a maximum size.
[22:40.570 --> 22:46.730]  You cannot make a QR code that is more than 177 squares on a side.
[22:47.350 --> 22:50.130]  That's the maximum resolution under the specification.
[22:51.170 --> 22:55.490]  And you would not be able to create one or read one with the available software.
[22:56.230 --> 22:58.170]  You can make them smaller, of course, as well.
[22:59.470 --> 23:06.050]  The other interesting fact that I want to bring up is that QR codes have an error correction capacity.
[23:06.510 --> 23:12.310]  And when you're generating a QR code, you can choose how much error correction to put into it.
[23:13.670 --> 23:21.230]  And... Of course, the more error correction you have, the more redundancy you have, the bigger the code is for the same amount of information.
[23:22.110 --> 23:25.850]  But interesting side effect of that is that you can actually alter the code.
[23:25.990 --> 23:28.850]  You can obscure parts of it or change parts of it creatively.
[23:29.050 --> 23:34.070]  And it won't affect the information transmission if you have a high enough error correction rate.
[23:34.270 --> 23:38.310]  So... This is a cool altered QR code.
[23:39.330 --> 23:44.570]  This is... I found this on the website of a site called hackaday.com.
[23:44.670 --> 23:49.270]  And this is their logo, which they just made out of pixels and put right into the middle of the QR code.
[23:49.370 --> 23:55.570]  And it still scans exactly as it should because they have enough error correction.
[23:56.870 --> 24:00.350]  So that opened up an interesting capacity artistically.
[24:01.270 --> 24:06.190]  But I wasn't just interested in putting QR codes online, even if they had little pictures inside them.
[24:07.130 --> 24:09.290]  You know, there's a limit to what you can do with that.
[24:11.170 --> 24:19.170]  If you're sort of like into very low-fi, low-resolution art, there's a whole range to be explored there.
[24:19.350 --> 24:24.750]  But I was trying to integrate this with Anaglyph 3D, of course.
[24:25.130 --> 24:31.590]  So just quickly, a little bit about Anaglyph 3D as a technology and how that actually works.
[24:32.110 --> 24:35.570]  You have two different filters, obviously, over your eyes.
[24:35.790 --> 24:40.230]  And I think Gina hopefully told you the red should be on the left side.
[24:41.130 --> 24:43.930]  Otherwise, you're going to get this weird stereo inversion effect.
[24:45.110 --> 24:47.130]  So the red should be over the left eye.
[24:47.210 --> 24:50.430]  The images are created for that calibration.
[24:50.450 --> 24:51.910]  And the blue should be over the right eye.
[24:56.090 --> 25:00.990]  And this is a cathedral in New Orleans that I photographed a few years ago.
[25:01.550 --> 25:11.510]  And when you're looking at a good Anaglyph image, what's happening is the red layer of the image is only going to your left eye.
[25:13.050 --> 25:16.210]  And the cyan layer should only be going to your right eye.
[25:16.550 --> 25:22.270]  So you're getting an exclusive image in each eye and your brain does the rest.
[25:22.690 --> 25:24.710]  Of course, the image has to be put together well.
[25:26.690 --> 25:27.870]  And encoded well.
[25:28.490 --> 25:37.530]  But if I've done my work, then you should be, you know, your brain and your eyes should be able to do the rest if you're not stereo blind to some degree.
[25:41.150 --> 25:45.570]  This is my friend Tamara, who is actually involved in HOPE.
[25:45.590 --> 25:48.930]  I think she's performing tonight, actually, in the musical showcase.
[25:51.710 --> 25:55.590]  And Anaglyph is an old technology.
[25:55.750 --> 25:59.930]  It goes back, actually, to the 1850s, which basically makes it as old as photography.
[26:01.510 --> 26:03.090]  It does have certain limitations.
[26:03.910 --> 26:05.910]  Obviously, color distortion is the biggest one.
[26:08.170 --> 26:11.050]  My solution to that is just to make my images monochrome.
[26:11.690 --> 26:16.230]  Basically, when you're looking at one of these photos, it's kind of like black and white 3D, effectively.
[26:18.310 --> 26:20.550]  And I like the way that looks.
[26:20.650 --> 26:21.870]  It just has an interesting quality.
[26:23.690 --> 26:25.430]  So I've done quite a few portraits.
[26:26.410 --> 26:32.410]  And the great thing about Anaglyph is that it's very easy to reproduce as a form of 3D.
[26:32.890 --> 26:41.890]  Basically, any LCD display, like this is an LCD-based projector, or a computer monitor, a tablet, a phone.
[26:42.470 --> 26:46.370]  If it's LCD, you will get the right color rendering to make this work.
[26:46.670 --> 26:50.470]  Now, there are other kinds of displays, like an old CRT monitor does not do Anaglyph well.
[26:51.070 --> 26:54.110]  A DLP-based video projector does not do Anaglyph well.
[26:55.110 --> 26:58.130]  But LCD is great.
[26:58.310 --> 27:00.510]  And there's a lot of Anaglyph content on the web.
[27:00.530 --> 27:02.290]  And I invite you guys to keep the glasses.
[27:02.910 --> 27:07.290]  And I'm going to put up the URLs of some of my stuff at the end.
[27:07.530 --> 27:08.850]  But there's a lot of stuff out there.
[27:08.930 --> 27:13.010]  If you just Google Anaglyph 3D, you'll get tons and tons of interesting stuff to look at.
[27:14.750 --> 27:18.230]  A-N-A-G-L-Y-P-H.
[27:21.010 --> 27:22.350]  This is Mars.
[27:23.330 --> 27:26.730]  Some of the rovers, some of the NASA rovers have stereo cameras.
[27:27.430 --> 27:33.310]  And people have figured out how to take two side-by-side photos and encode them in Anaglyph.
[27:33.510 --> 27:35.290]  So, welcome to Mars.
[27:35.910 --> 27:43.730]  That's probably as close as most of us will get to Mars, unless Elon Musk really comes through soon.
[27:46.730 --> 27:48.350]  He's doing a good job, you know.
[27:51.250 --> 27:57.910]  But anyway, I was interested in this question of what we conceal and what we reveal.
[27:59.570 --> 28:02.170]  that pixelated series.
[28:02.610 --> 28:14.350]  And I decided specifically to use nudes, pixelated anaglyph nudes, because of that theme of concealment and, you know, surveillance.
[28:14.910 --> 28:20.350]  And also because the human form is just something that we visually key in on very well.
[28:21.530 --> 28:24.290]  You know, we all like looking at the human form.
[28:24.970 --> 28:30.650]  Classic subject for art, including ancient 3D art in the form of sculpture.
[28:31.210 --> 28:42.970]  So, what better way to symbolize the intrusiveness of the modern surveillance state and our fight to retain privacy than to show these images that are simultaneously revealing but also kind of obscured.
[28:45.070 --> 28:47.470]  So, this is not a picture I took.
[28:47.590 --> 28:48.410]  This is from Flickr.
[28:49.750 --> 28:53.730]  And you can see what happens when I apply pixelation.
[28:55.650 --> 28:57.110]  You can still kind of make it out.
[28:57.190 --> 28:58.330]  You can still get some of the depth.
[28:58.490 --> 29:07.470]  You can still visually kind of partially get a sense of her body, but it's sort of frustrating.
[29:10.230 --> 29:14.110]  So, the other nice thing, though, about pixelation is, of course, you just get a lot of squares.
[29:14.490 --> 29:21.230]  And what better way to make an image compatible with QR code than to render it as a bunch of squares?
[29:25.550 --> 29:28.270]  So, I'm kind of maybe a little behind schedule here.
[29:28.370 --> 29:30.110]  But the other technology I used was Tumblr.
[29:30.290 --> 29:31.590]  And there's not much to say about Tumblr.
[29:31.730 --> 29:32.870]  You know, it's a medium.
[29:33.350 --> 29:34.770]  People use it for all kinds of things.
[29:35.850 --> 29:38.990]  Well, there's one of my project images there, just for a second.
[29:40.670 --> 29:42.950]  And hopefully, you are getting that depth sensation.
[29:43.210 --> 29:50.390]  It's sort of like you're looking through the data and you're getting this glimpse of the model beyond.
[29:52.130 --> 29:58.910]  And by the way, all of these images from the project are downstairs in the mezzanine in the art space area.
[29:59.510 --> 30:01.710]  I have some large 16-inch prints of them there.
[30:01.790 --> 30:04.170]  So, you can go check them out later.
[30:05.470 --> 30:06.310]  So, Tumblr.
[30:06.570 --> 30:08.590]  You know, people use Tumblr for all sorts of purposes.
[30:10.250 --> 30:11.250]  It's very versatile.
[30:15.850 --> 30:18.890]  But mostly, I was interested in it because it's very public.
[30:19.430 --> 30:23.010]  And when you put something on Tumblr, it's easily shared.
[30:24.090 --> 30:25.770]  It's actually kind of out of your control.
[30:26.470 --> 30:30.190]  And so, it's a good example of how information gets taken out of our hands online.
[30:32.050 --> 30:34.610]  So, this is the project Tumblr site.
[30:35.430 --> 30:42.310]  The address is psiae.tumblr.com.
[30:42.470 --> 30:44.970]  And I'll put that URL up at the end.
[30:45.850 --> 30:47.210]  It's got all the images.
[30:47.470 --> 30:49.870]  It's got some sort of background explanation.
[30:50.630 --> 30:57.110]  And it's got the PGP encryption instructions and some other information.
[30:58.130 --> 31:01.030]  particularly if you can read the headers across the top there.
[31:01.110 --> 31:02.430]  The second link is participants.
[31:04.630 --> 31:06.450]  And that was a key part of this.
[31:06.590 --> 31:15.730]  I wanted people... I wanted to recruit some people who were game to send some encrypted messages to each other with me as the intermediary, not being able to read the messages.
[31:15.990 --> 31:18.210]  But I would be part of the transmission system.
[31:18.710 --> 31:23.330]  And I would be taking their messages and turning them into these images.
[31:23.530 --> 31:33.030]  And then, in theory, the person at the other end, the recipient could pull the message out of the image and read it without my ever comprehending it.
[31:36.050 --> 31:40.150]  So, I don't really have time to, unfortunately, give you a full rundown on my participants.
[31:40.370 --> 31:41.510]  They're all really cool people.
[31:44.030 --> 31:46.470]  I guess I'm missing... I had a page with their names.
[31:47.030 --> 31:48.210]  A slide with their names.
[31:49.110 --> 31:50.950]  So, Ted Case Hayes.
[31:52.070 --> 31:53.790]  He's known to his friends as Tedbot.
[31:54.030 --> 31:56.210]  I'm guessing maybe somebody here knows Tedbot.
[31:56.330 --> 31:56.610]  I don't know.
[31:58.970 --> 32:00.150]  He's a cool guy.
[32:00.290 --> 32:02.490]  He's an artist, a musician, a technology person.
[32:03.510 --> 32:05.270]  I went to NYU ITP.
[32:05.390 --> 32:07.190]  I think he's teaching there now.
[32:09.150 --> 32:15.910]  Joseph Clark, a licensed architect, architectural theorist, doing his doctoral dissertation at Yale.
[32:17.610 --> 32:20.230]  And Joseph and I share many things.
[32:20.390 --> 32:25.030]  A love of brutalist architecture, classic Doctor Who, and he's also my brother.
[32:26.710 --> 32:41.130]  Molly Crabapple, an artist, writer, and activist who has traveled the world documenting Occupy Wall Street, the military tribunals at Guantanamo, the Syrian Civil War, protests in Cairo, Istanbul, Athens, etc.
[32:42.530 --> 32:48.710]  I met her at her art opening a couple of years ago where she was showing some really amazing paintings.
[32:49.230 --> 33:02.450]  And she also had the porn star, Stoya, sitting in a bathtub full of fake money, wearing a Marie Antoinette wig, just kind of as atmosphere.
[33:03.130 --> 33:04.510]  So that was pretty entertaining.
[33:06.050 --> 33:12.030]  And Molly, I have to give her props, she was the only person that I invited to be part of this who had already set up the PGP encryption.
[33:12.690 --> 33:13.630]  So that was great.
[33:15.330 --> 33:20.330]  Michael Lee, a painter from a friend of mine who is very talented.
[33:20.810 --> 33:31.270]  And I look at painters, as somebody who does digital art, I look at painters as people that I can learn from because digital images are so easy to create, so disposable.
[33:32.350 --> 33:41.830]  I saw a statistic a while back that half of all photographs ever taken had been taken in the previous 12 months, which is crazy.
[33:41.950 --> 33:44.070]  And I'm sure that, you know, that probably is still true today.
[33:46.130 --> 33:53.590]  So painters are people who do sort of like slow art, as opposed to fast art, kind of like slow food versus fast food.
[33:54.530 --> 34:00.270]  And I think, you know, there's a lot to be learned from that, and from that tradition that they're carrying on.
[34:01.870 --> 34:06.210]  A couple more participants, Maude Newton, a writer, literary critic.
[34:07.130 --> 34:13.570]  She wrote the cover story of the June issue of Harper's Magazine on America's ancestry craze.
[34:13.670 --> 34:16.010]  She's working on a book on that subject for Random House.
[34:17.010 --> 34:23.990]  She's had a weekly mini column in the New York Times Sunday Magazine for a while.
[34:25.250 --> 34:28.630]  She's written for the New York Times, Washington Post, lots of other publications.
[34:31.010 --> 34:34.650]  Very smart and sort of has a wide range of interests.
[34:35.070 --> 34:40.170]  I met Maude actually when we were both 14 in ninth grade, and I had a huge crush on her.
[34:41.190 --> 34:44.330]  Years later, I found out she had also had a crush on me.
[34:44.650 --> 34:49.810]  And so eventually we did something about it, and we've been married now for 16 years.
[34:55.470 --> 34:58.350]  And finally, Tamara Yadow.
[34:58.490 --> 35:00.730]  I showed you a picture of her, a portrait of her earlier.
[35:00.890 --> 35:02.990]  She's an electronic musician and experimental artist.
[35:03.950 --> 35:08.110]  She's performed and lectured all over the place, including at a previous edition of HOPE.
[35:08.950 --> 35:12.830]  She writes music for the Game Boy under the name Corset Lore.
[35:13.130 --> 35:17.550]  And I'm pretty sure she's performing tonight as part of the Chiptune showcase.
[35:18.930 --> 35:20.170]  Definitely worth checking out.
[35:20.830 --> 35:23.690]  So the point is, this is a diverse group.
[35:25.170 --> 35:27.550]  It's, you know, people from different backgrounds.
[35:27.730 --> 35:29.010]  They're not all technology people.
[35:29.490 --> 35:30.670]  They're smart people.
[35:30.770 --> 35:31.570]  They're motivated.
[35:31.750 --> 35:39.090]  They're politically aware, but they're not coming at this with necessarily a big base of knowledge about how to use these technologies.
[35:39.170 --> 35:48.030]  So it was the perfect group for me to, you know, try to kind of have as guinea pigs to see if my instructions were actually any good.
[35:50.010 --> 35:55.530]  Now, there was, of course, one more person I needed, and that was the model.
[35:57.930 --> 36:00.710]  And, you know, New York is not a hard place to find an artist model.
[36:00.930 --> 36:05.730]  But in any case, I talked to the model that I recruited about the concept.
[36:05.870 --> 36:08.950]  She was very on board with it, including the political dimension.
[36:09.810 --> 36:15.490]  And we agreed that in keeping with the overall theme, of privacy, she would remain permanently anonymous.
[36:16.270 --> 36:19.450]  So this is as much as you're going to get to see of her.
[36:20.430 --> 36:26.310]  But I think the images are interesting because of the kind of obscurity.
[36:26.850 --> 36:28.330]  We did two photo shoots.
[36:29.710 --> 36:31.570]  I tried to keep the images very simple.
[36:31.710 --> 36:38.750]  The compositions are simple because anything more complicated than that would just be confusing to look at with all the kind of schmutz on top of it.
[36:40.890 --> 36:42.410]  These are the cameras I used.
[36:44.010 --> 36:45.870]  Sony Alpha NEX 5Ns.
[36:45.930 --> 36:47.050]  I have them on a crossbar.
[36:47.530 --> 36:50.230]  I have an infrared remote that triggers both of the shutters.
[36:50.490 --> 36:53.230]  And you might see me walking around with these later this weekend.
[36:53.230 --> 36:56.710]  I don't have them today, but I take a lot of pictures with them.
[37:01.190 --> 37:06.190]  So there are a lot of problems that you can run into taking 3D photos.
[37:06.770 --> 37:08.490]  There are things you can do with 2D.
[37:08.730 --> 37:13.230]  You can take a photo, a composition in 2D that looks great, but in 3D it looks terrible.
[37:14.030 --> 37:21.110]  Probably the biggest pitfall is too much stereo divergence either in the foreground or the background.
[37:21.710 --> 37:28.750]  So, for example, if you put your finger out at arm's length and look at it, it's not too hard for you to make both of your eyes converge on your finger.
[37:28.930 --> 37:33.550]  Of course, the background then diverges, but it's not too hard to go back and forth between those things.
[37:33.710 --> 37:38.170]  But if you put your finger right here and look at it, you really can't bring those images together.
[37:38.690 --> 37:42.290]  And that's what happens if you get your 3D cameras too close to something.
[37:42.830 --> 37:47.250]  The images just don't gel, basically, later on in post-processing.
[37:48.310 --> 37:51.950]  And speaking of post-processing, I'm just going to quickly tell you how I do it.
[37:53.850 --> 37:57.170]  I get a pair of images from the two cameras.
[37:58.430 --> 38:05.990]  I bring them into Photoshop, I align them, and you'll notice there's a little bit of fringing around the edges.
[38:06.350 --> 38:09.610]  The top layer is 50% transparent.
[38:10.630 --> 38:16.690]  But I align them based on my experience to get it looking the way I want it to look.
[38:17.250 --> 38:21.590]  And then I take it into... I export them as separate JPEGs.
[38:21.890 --> 38:26.550]  And I take them into a program called Stereo Photo Maker, which is actually a freeware program.
[38:28.210 --> 38:31.750]  And that's where they get composited into an anaglyph.
[38:32.250 --> 38:42.030]  And depending on the alignment, the horizontal alignment of the images, I can control how far forward or how far back the objects are.
[38:42.230 --> 38:45.750]  So, you know, if I want this guy's beer bottle to be right in your face, I can do that.
[38:45.910 --> 38:54.250]  Or I can have it all be sort of behind the window, so to speak, based on the... the alignment... the horizontal alignment of the left and right images.
[38:56.030 --> 38:57.370]  Sometimes I have to go back and forth.
[38:57.490 --> 39:00.290]  I get it to the 3D stage here, and I realize there's a problem.
[39:00.850 --> 39:03.570]  And I have to go back into Photoshop and tweak something.
[39:04.330 --> 39:06.290]  And it can take... it can take a long time.
[39:07.190 --> 39:10.870]  For this project, in fact, it took many hours for each image.
[39:11.750 --> 39:19.290]  And I took almost a hundred photo pairs, but I was only able ultimately to make five of them work for the purpose of the project.
[39:19.430 --> 39:31.190]  Because putting the QR code on top of that and obscuring it, just so little of the information gets through that a lot of them just didn't really look like anything once I did that.
[39:32.290 --> 39:38.870]  Okay, so let me just... in case you haven't kind of got the idea, because I don't think I've explained it linearly yet.
[39:39.110 --> 39:47.290]  The way that these images were produced and the sort of the flow of the information started with a plain text message.
[39:47.610 --> 39:50.810]  One of my participants would take a short text.
[39:51.750 --> 39:59.570]  I figured out early on it had to be only about 50 or 60 words at most, because that would be the maximum size for a QR code.
[40:00.390 --> 40:08.610]  And... well, once it's encrypted and turned into ciphertext, then it has to fit into the maximum size of a QR code.
[40:08.770 --> 40:11.590]  Couldn't be much more than 50 or 60 words, as it turns out.
[40:12.150 --> 40:16.390]  So the sender encrypts their text.
[40:16.490 --> 40:17.590]  I don't see what it is.
[40:17.970 --> 40:19.650]  And they get something like this.
[40:21.150 --> 40:22.570]  And they send that to me.
[40:23.210 --> 40:26.210]  I don't have the right key for this.
[40:26.410 --> 40:28.390]  Somebody else has the key.
[40:28.530 --> 40:30.190]  It's made with somebody else's public key.
[40:31.130 --> 40:34.790]  So I take it and I put it into a QR code generator.
[40:37.550 --> 40:39.390]  And I get something like this.
[40:40.790 --> 40:49.430]  And then I layer it on top of one of my anaglyph images, which has been pixelated so that the squares are exactly the same size.
[40:52.350 --> 40:54.950]  The QR codes do cover quite a lot.
[40:55.090 --> 40:57.470]  The information is really, really compromised.
[40:58.250 --> 41:07.910]  And because I had that high error correction rate on the QR codes, I was able to go in and delete some of the little black squares, which was really useful.
[41:08.170 --> 41:17.130]  And in some cases, I spent hours and hours strategically deleting certain squares, just so that you kind of could tell more or less what you were looking at.
[41:17.210 --> 41:18.870]  But, you know, it's sort of a balance.
[41:18.990 --> 41:24.390]  I don't want to show too much, but I want to show enough that you, you know, you're not completely baffled.
[41:25.950 --> 41:31.850]  So, and the other interesting thing is I did check the codes as I went along to make sure that they would still evaluate properly.
[41:32.050 --> 41:33.710]  So, and they did.
[41:33.830 --> 41:37.990]  Now, you're not going to be able to get a code cleanly out of an image like this.
[41:38.590 --> 41:43.350]  And down in the art space, people have been trying to use their QR code apps on these prints.
[41:43.550 --> 41:45.730]  And it's almost certainly not going to work.
[41:46.290 --> 41:58.190]  But if you took this image and you took it into Photoshop or something and said, delete everything that's not black, and then replace it with white, you would be able to get a clean QR code that would actually work.
[41:59.890 --> 42:05.210]  For the purposes of the project, this is a page from the project Tumblr.
[42:05.850 --> 42:10.170]  And down there, you see the title of the message, the title of the image, message 004.
[42:10.270 --> 42:12.470]  And then there's a little link next to it for the QR code.
[42:12.550 --> 42:15.710]  So, people can just get the plain vanilla QR code.
[42:15.870 --> 42:19.590]  The recipients can get the plain vanilla QR code just to help them decrypt it.
[42:20.090 --> 42:24.030]  I made them jump through enough hoops, I didn't want them to have to Photoshop the thing too.
[42:25.190 --> 42:28.230]  So, yeah, really practical, efficient communication system.
[42:28.330 --> 42:29.350]  Why aren't we all using this?
[42:33.090 --> 42:34.230]  Of course, it wasn't at all.
[42:34.330 --> 42:42.150]  It was a kind of handcrafted weird proof of concept, but it did achieve some of the goals that I wanted it to achieve.
[42:42.290 --> 42:50.870]  So, let me start to wrap things up here and talk about what I think I achieved from this and what I learned from it.
[42:52.770 --> 42:58.150]  One of my goals, obviously, was to evangelize a little bit about surveillance and encryption.
[42:59.870 --> 43:08.990]  And so, I was hoping that the images would get shared on Tumblr and pique people's curiosity and they would come and check it out.
[43:09.150 --> 43:12.850]  So, once again, I think I'm missing one of my slides.
[43:13.050 --> 43:18.530]  But, oh, no, this is part of the QR code decryption process, yes.
[43:18.890 --> 43:22.250]  This is what the message recipient would use.
[43:22.370 --> 43:35.750]  They'd go to one of these sites and they would get the encrypted text out of the QR code and then they would be able to evaluate that using their private key and get the message.
[43:37.430 --> 43:41.590]  But yes, on Tumblr, I got some of the images shared a little bit.
[43:41.790 --> 43:46.210]  It didn't get as much traction as I was hoping, probably because I don't spend a lot of time on Tumblr.
[43:46.910 --> 43:50.090]  But if you have a Tumblr, go check it out and share the images, please.
[43:51.970 --> 43:57.370]  It did get shared by the Tumblr of an art website called Hyperallergic.
[43:57.490 --> 43:58.110]  So, that was cool.
[43:58.850 --> 44:11.230]  Some art people looked at it and there's this chasm between sort of the art world and the technology world that, you know, I'm always frustrated by and I'm always hoping that, you know, I can do something to bridge it.
[44:11.410 --> 44:14.090]  It's perhaps not permanently bridgeable.
[44:14.230 --> 44:35.870]  But I also got some of these images into an actual gallery show last fall and what I did in this case was I produced a print of one of the images which you see on the left there and then I produced a print just showing the QR code and then I produced a print just showing the encrypted text.
[44:37.470 --> 44:44.190]  So, it was sort of a triptych giving a sense of the information transmission flow.
[44:45.570 --> 44:51.830]  I also promised the participants that they would all get a print from the series.
[44:52.190 --> 45:00.230]  So, I did have to work on... and it took quite a while to get them printed because there are a lot of adjustments that had to be made.
[45:00.330 --> 45:03.490]  For one thing, these anaglyph images tend to need to be lightened.
[45:03.610 --> 45:09.270]  They look better on a screen and when you're printing them, there's not that backlighting so you have to kind of brighten them up.
[45:09.590 --> 45:17.170]  And I found that the QR code issue somehow generated more problems in the print images than I expected.
[45:17.350 --> 45:24.770]  Sometimes what looked good on screen looked weird in print and so I had to go in and tweak the codes a little bit more.
[45:27.150 --> 45:28.610]  But it worked out in the end.
[45:30.350 --> 45:38.850]  So, as far as sort of broader things that I learned, I learned that encryption is still kind of complicated.
[45:39.130 --> 45:42.150]  It's not as easy to use as it could be or I think should be.
[45:44.750 --> 45:57.110]  I was actually kind of a newbie to PGP and so setting up the instructions and the tutorials was useful to me because it reinforced my learning.
[45:58.050 --> 46:04.850]  And the participants, I did have to kind of, you know, ride herd on them a little bit to go through the process.
[46:05.010 --> 46:07.630]  And that's not a criticism of them.
[46:08.490 --> 46:09.730]  It's not a reflection on them.
[46:09.790 --> 46:15.770]  It's a reflection on the fact that this is complicated for the layperson to understand and to execute.
[46:16.450 --> 46:20.050]  And so it's not as accessible as it could be.
[46:20.710 --> 46:22.610]  I know there are people working on this.
[46:22.610 --> 46:27.210]  Increasingly, there are webmail plug-ins and other things that make it easier to use.
[46:27.570 --> 46:29.730]  But I think we still have some ways to go.
[46:30.730 --> 46:35.670]  And, of course, the other big, you know, takeaway that I got from this is this is not scalable.
[46:37.790 --> 46:41.450]  You know, we're not going to be switching to this system of communication tomorrow.
[46:42.170 --> 46:45.030]  But, you know, it was a fun experiment.
[46:45.030 --> 46:57.330]  It was a way of trying, you know, to kind of roll up a lot of different technologies and get some interesting aesthetic effects from it as well as, you know, communicate my concerns.
[46:57.850 --> 47:11.030]  And, you know, I'd be interested to see if somebody else goes down a similar road and starts, you know, melding together embedded messages and images and, you know, sent to concealed recipients and that sort of thing.
[47:13.370 --> 47:17.550]  So, this is the last image in the series I produced out of five.
[47:18.390 --> 47:21.490]  And as I say, that's downstairs in the mezzanine with all the others.
[47:22.850 --> 47:26.250]  And that's just about it.
[47:26.410 --> 47:32.550]  I want to thank everyone at HOPE, the organizers, you guys, for attending.
[47:32.930 --> 47:35.990]  I want to thank my project participants, my model.
[47:37.210 --> 47:44.310]  I want to thank the developers of PGP and GPG and Mr. Edward Snowden.
[47:44.970 --> 47:49.990]  And so these are my different URLs.
[47:50.870 --> 47:53.210]  There's the project site at the top.
[47:54.090 --> 47:55.810]  My art website under that.
[47:57.550 --> 47:59.890]  Parallax City is my 3D photography site.
[48:00.030 --> 48:01.670]  It just has a lot of different images that I've shot.
[48:02.610 --> 48:04.630]  Klaxon.tv is my music site.
[48:05.110 --> 48:07.430]  And on Twitter, I'm Book of Sand.
[48:08.170 --> 48:11.450]  So, I'll just leave that out there for a bit.
[48:11.590 --> 48:15.330]  And if anybody has any questions, I would be happy to take them.
[48:17.710 --> 48:19.030]  Well, I'll get you first.
[48:29.150 --> 48:31.270]  Yeah, it's just two cameras.
[48:31.630 --> 48:34.830]  Any two cameras will work as long as they're triggered at the same time.
[48:36.050 --> 48:42.790]  I have an infrared remote, which is, you know, it's made for one camera, but it works just as well for two if you hold it in the right place.
[48:44.690 --> 48:45.050]  Somebody?
[48:45.310 --> 48:45.530]  Yeah?
[48:47.950 --> 48:50.350]  Oh, it's called Stereo Photo Maker.
[48:51.270 --> 48:54.810]  It's a great little program, very lightweight, and it's free.
[48:55.170 --> 48:55.250]  Yeah.
[48:57.090 --> 48:57.950]  Anybody else?
[49:29.260 --> 49:30.060]  All right.
[49:30.080 --> 49:30.100]  Okay.
[49:30.460 --> 49:30.660]  Yeah.
[49:43.490 --> 49:45.130]  I appreciate what you're saying.
[49:48.190 --> 49:58.310]  Obviously, the female nude is sort of a traditional art subject, but that doesn't mean it's not open to interrogation as whether it should be so heavily featured.
[49:59.090 --> 50:05.890]  I was hoping to do some more shoots, possibly with male models as well.
[50:06.510 --> 50:13.210]  And if this project had gone on longer, I was planning to do that, but as it transpired, I did not.
[50:13.410 --> 50:17.390]  I did try to make the group of participants gender-balanced.
[50:17.670 --> 50:26.050]  That was important to me, that this not be seen as just a bunch of men using these images of women to send messages to each other.
[50:26.930 --> 50:31.010]  You know, that would have been, you know, a little creepy, I think.
[50:31.890 --> 50:44.390]  But no, I think you're right that both the tech worlds and the art worlds have a gender imbalance issue and, you know, definitely needs to be addressed.
[50:44.390 --> 50:46.390]  So, I agree.
[50:46.890 --> 51:00.850]  And, you know, your critique is... I don't know if it's meant as a critique, but it's fair to say that, you know, this does in some ways fall into this kind of traditional trope of depiction of the female nude.
[51:02.930 --> 51:07.430]  And I'm certainly interested in branching out beyond that in future projects.
[51:07.650 --> 51:09.570]  So, you know, I take your point.
[51:10.270 --> 51:11.130]  That's what I would say.
[51:13.790 --> 51:14.870]  Was there another hand?
[51:14.990 --> 51:15.130]  Yeah.
[51:24.770 --> 51:25.910]  I haven't.
[51:26.070 --> 51:26.690]  I haven't.
[51:26.950 --> 51:27.170]  I haven't.
[51:28.050 --> 51:32.570]  Yeah, the only thing I could say is I would recommend the panel tomorrow.
[51:32.870 --> 51:34.970]  I know that's about steganography.
[51:35.150 --> 51:44.910]  In fact, I think he was hiding... attempting to hide images in the skeuomorphic wallpaper of, like, Mac OS X.
[51:44.910 --> 51:48.790]  So, I don't fully understand it, but it sounds interesting.
[51:49.010 --> 51:51.770]  So, you know, I'm going to be here for it.
[51:51.970 --> 51:52.250]  So...
[51:52.970 --> 51:53.370]  Okay.
[51:53.490 --> 51:54.270]  One more question?
[51:54.570 --> 51:54.970]  Oh.
[51:55.490 --> 51:56.230]  Oh, okay.
[51:56.450 --> 51:56.810]  All right.
[51:57.010 --> 51:57.930]  Well, thanks, everybody.
[51:58.210 --> 52:00.930]  And feel free to keep the glasses.
[52:02.190 --> 52:08.250]  And, again, the art is downstairs in the art space if you want to take a further look at the prints or check it out online.
[52:08.390 --> 52:08.850]  Thanks a lot.
[52:18.620 --> 52:19.020]  Excellent.
[52:19.260 --> 52:19.500]  All right.
[52:19.580 --> 52:19.860]  Thank you.
[52:20.020 --> 52:20.460]  Thank you.
[52:21.740 --> 52:22.760]  This is your phone number.