#Benjamin Gaulon

[fckyeahnetart]

benjamin gaulon, “broken portraits” 56x27cm variation media art fair, paris

[carmenspino]

Paradigm Shift Forum #3, Mapping Festival, Geneva, 24 & 25 May 2019. 

#curation 

Speakers: Joana Moll, Tatiana Bazzichelli, Marc Garret, Benjamin Gaulon, Simon Laroche, Luc Meier, Régine Debatty, Nathalie Bachand, Alexandre Monnin, Nicolas Nova and Romain Tardy. 

Theme: Broken Home

the evolution of humanity is closely tied to the evolution of communication and the transmission of knowledge. humankind have for at least three decades been exploring the possibilities of computer-mediated communications. the invention of the world wide web in 1989 brought about new social interactions and cultural practices that have changed our lives forever. the magnitude of what began that year is an act that exposes the uniqueness of our civilisation. however, what we are witnessing in the last decade shows a lack of understanding and responsibility towards our digital rights and the complex systems that rule our world. the shift from the wide-open web to semi closed platforms brought about an unequal distribution of power among citizens, businesses and governments. centralised control not only has damaged our most valuable medium of communication and exchange of knowledge, it has also threatened our freedom, autonomy and sovereignty. how did we get here?, what could we do differently if given a second chance?, how can we ensure that the internet is not centralised inside corporate structures? what would it take to build a digital future that is right for us all?  who should be involved? these are questions we will have to give much more thought in the years ahead. perhaps the most urgent questions we need to ask ourselves are: how do we want technology and the ‘network’ to function in the next decades – as means to foster human development or as tools to continue exacerbating the concentration of wealth and power?, how can we ensure that the systems, infrastructures and networks we create don’t end up mutating into tools for control, surveillance and censorship? and how can we build better and more solid systems in the first place?

the title ‘broken home’ is a metaphor that describes the ‘fractured’ condition of today’s society and the digital ecosystem we are all embedded in due to two main factors: the implementation of a new form of capitalism that potentiates centralisation of power and the exploitation of citizens for economic profit, and our resistance to accept that real power comes from the conscious mind that is behind any human creation.

this year’s theme wants to reflect on the causes and effects of the centralisation of power within the internet. the forum’s programme brings together artists, writers, researchers and curators to explore the complexities of the internet and technology, and to reflect on how the power forces that dominate them alter our relationship to the world, to others and to ourselves. through talks, presentations and discussions, the forum wants to make visible the economic model and mechanisms that underpin our digital ecosystem, and its connection and implications at the economic, political, socio-cultural and environmental levels.

[chloevernay]

Affiche/ conferences programme des conférences NO TALKS de la NO SCHOOL NEVERS, organisée par Benjamin Gaulon et Dasha Ilina autour de l’art et des technologies et ayant lieu à Ravisius Textor.

NØ SCHOOL NEVERS est une summer school internationale unique, tenue à Nevers en Bourgogne, adressée à des étudiants, des artistes, des designers, des créateurs, des hackers, des activistes et des enseignants souhaitant approfondir leurs compétences et s’engager dans la recherche critique autour des impacts sociaux et environnementaux des technologies de l’information et de la communication.

Poster/program of NO TALKS conference by NO SCHOOL NEVERS, organized by Benjamin Gaulon and Dasha Ilina around art and technology and held at Ravisius Textor.

NØ SCHOOL NEVERS is a unique international summer school, held in Nevers in Burgundy, aimed at students, artists, designers, makers, hackers, activists and educators who wish to further their skills and engage in critical research around the social and environmental impacts of information and communication technologies.

[ecologiadigital]

As a reminder, @facebook did it first in 2014... cc @profcarroll https://t.co/epLBPUNA6w

— Benjamin Gaulon (@recyclism) March 24, 2018

[ownerzero]

Les sorties graphiques de juillet #2

Expos, vernissages, festivals ou conférences, chaque semaine étapes : note pour vous dans l’agenda les évènements de la scène graphique et artistique NØ SCHOOL NEVERS La première Summer School de Ravisius Textor est lancée aux côtés de l’ancien étudiant de l’Ésaab, Benjamin Gaulon. La formation est conduite par 30 NØ TEACHERS internationaux. Ils exploreront l’impact social […]

The post Les sorties graphiques de juillet #2 appeared first on AWorkstation.com.

source https://aworkstation.com/les-sorties-graphiques-de-juillet-2/

[jlmrtn]

Co-organisation de la journée d’étude Sonder les dispositifs numériques #1

Lla-créatis et CIEREC,  Université Jean Monnet

25 avril 2019

Co-organisation avec Vincent Ciciliato et Carole Nosella, MCF UJM et Anthony Masure, MCF Ut2J

Programme

L’objectif de cette journée d’étude et d’une seconde prévue le 18 octobre 2019 est de croiser différentes approches des dispositifs numériques en art et en design sous l’égide de la notion d’archéologie. Anticipée dès les années 1980 par des chercheurs comme Vilém Flusser ou Friedrich Kittler, l’archéologie des médias induit un rapport singulier au temps caractérisé par l’idée de survivance. Marqués par les analyses de Michel Foucault sur l’origine du pouvoir (archè), des théoriciens des médias comme Siegfried Zielinski, Wolfgang Ernst, Jussi Parikka ou Erkki Huhtamo mettent à mal l’idée d’une chronologie linéaire des objets technologiques. Avec l’approche archéologique la vision techniciste et progressiste cède place à l’idée d’une sédimentation où les « vieux médias » réels ou imaginaires peuvent anticiper de « nouveaux médias », et dont l’étude permet de cerner la condition médiatique actuelle. Plutôt que de chercher les précurseurs, l’archéologie des médias s’intéresse notamment aux échecs, aux projets avortés ou irréalisés. La marginalité, les méandres constituent pour celle-ci un terrain alternatif à l’histoire dominante (Yves Citton).

Jussi Parrika parle de « méthodes artistiques de l’archéologie des médias qui explorent non seulement le passé mais aussi la machine, et qui traitent des conditions « enfouies » − techniquement « archéologiques » de nos médialités contemporaines » (Qu’est-ce que l’archéologie des médias ?, 2012). Ainsi, « sonder » les dispositifs numériques, c’est à la fois évider, creuser, « descendre dans les profondeurs, au coeur, voire au double coeur » (Emmanuel Guez, « Manifeste Médiarchéologiste », 2016), voir à travers, approfondir le terrain par excavation structurelle et temporelle, mettre à distance, sans nécessité de démembrement. Depuis quelques années en France, des collectifs comme le PAMAL dirigé par Emmanuel Guez et Lionel Broye, Disnovation.org mené par Nicolas Maigret à partir du néologisme proposé par Grégory Chatonsky, RYBN ou encore Refunct media (Benjamin Gaulon) et Média/Médium dirigé par Gwenola Wagon et Jeff Guess, travaillent dans le sens d’une archéologie des dispositifs numériques. Par leurs productions, des artistes et designers se confrontent aux fonctionnements des « dispositifs » autoritaires du philosophe Giorgio Agamben et peuvent en exhumer des principes philosophiques et esthétiques. Les enjeux archéologiques permettent ainsi de réinterroger les notions de « média », « médium », d’« intermédialité » ou d’« oeuvre multiple » à travers l’étude des « effets secondaires » des dispositifs de représentation et de production en série. Il s’agira donc de faire le point sur ce type de démarches afin d’examiner des possibles enjeux dans les domaines du design (qu’il soit graphique, d’objets, d’interfaces), et des arts plastiques (mettant en jeu des techniques numériques ou les interrogeant), mais aussi dans le champ du cinéma et des arts du spectacle.

[ruoqingwang]

300 word statement 3. The word glitch refers to an unpredictable irregularity in a system—digital and analogue alike. Explore the creative possibilities of glitch. I did research on the glitch topic in conjunction with the topic about remix culture and appropriation, finding that they are similar in that they can both be placed in a postmodern and digital context. Glitch art has a long history, starting to appear in the last century. As modern technologies develop, more possibilities are open to both sampling as a means of remix and digital manipulations to either create a real glitch, or an imitation of malfunctioning that usually intends to convey meaning through discordance or discontinuity. In my research I found American artist James Hoff’s ‘noise virus’ particularly intriguing. Hoff constructed computer viruses to make changes to sound and image files automatically. Benjamin Gaulon’s Corrupt.desktop utilises a similar mechanism to distort the user’s computer desktop once the application is installed. I realised that in some ways a glitch, whether purposefully constructed or otherwise, resembles the means of operation of cooperational art in that both digital and analogue systems work on their own to form the final result, rendering the artist’s efforts more conceptual. For my own poster, I decided to make a page of comics that starts moving occasionally as a result of glitch. It relates to the poster form since comics are usually printed onto paper, which is also usually the material for posters. My poster incorporates drawn images, brief animation, video footage, and recorded and found sound. I used the mosaic effect in premiere pro to simulate the occurence of a glitch every time the image starts or stops moving. Every time this happens, I added sound I recorded from a scratched, no longer functioning cd that was inserted in a cd player, adding to the authenticity of the glitch. I was trying to create a sense of panic through the narrative of the poster with the occasionally arising glitches. Word count: 305

[telcosys]

A tweet

#R3FRAG with @telcosys April 3rd of April 3 to 6pm @ParsonsParis Gallery - more on https://t.co/gkfxIEsS2z http://pic.twitter.com/TOjPJeJHyV

— Benjamin Gaulon (@recyclism) March 23, 2017

[nofomoartworld]

GAMERZ: Digital tech ‘degenerated’ by craft and kludge

Trailer for the 12th edition of the GAMERZ festival

I’ve attended a fair number of editions of the GAMERZ festival over the years. The event seems to have found a formula that works, developed a personality of its own while always bringing to light new artists, perspectives and ideas that surprise me. Some of the performances are a bit mad and frenzied, a bit raw and totally at odds with the sleek and efficient aesthetics and atmosphere of many other media art festivals. And that’s why GAMERZ remains one of my favourite art appointment of the year.

Under its laid-back guise, GAMERZ is also sharp and subversive. It uses games, interactions and sounds as vehicles to observe a society re-shaped by technology and a technology challenged by artists and hackers.

Tapetronic aka Alexis Malbert performance at GAMERZ. Photo by Luce Moreau

Yann Leguay, Stück für Stöcke

This year, the festival was organized around two fairly different themes. Simulated Universe, curated by Ewen Chardronnet and D. Générer, curated by Quentin Destieu.

Today, I’m going to focus on D. Générer, an exhibition and series of performances that explored the aesthetic peculiar to the kind of “digital” artworks that is guided by craft, kludge and a rowdy DIY spirit. These works are (de)generated by the touch of the human hand. They don’t have the efficient and polished aesthetic of design products, but they have soul, vigor and warmth.

“Researchers an theoreticians have already demonstrated the role of art & science-inspired aesthetics in the service of innovation and industry,” Destieu writes. “But they tend to underestimate the alternative and subversive aesthetic potential of these artistic forms, reducing them to default prototyping. Contrary to American historian Fred Turner’s dearest « makers » movement, in which innovating prototypes are to be eventually re-designed to be mass-made and sold, artists claim a different end to their works.”

Each work selected for the show champions an ‘alternative’ aesthetic that values the glitches of the process and the imperfection of technology. Perhaps even more interestingly, these works present themselves as a kind of anti-Apple squad, they open up their guts and show the mechanisms that brings them to life. By doing so, they suggest that there is an alternative to our passive-impassive consumer attitude and that now has come the time to reconnect with the objects that surround us (no matter how high-tech or low-tech they are) and make them our own:

A quick look at some of the artworks:

Yann Leguay, Arnaud Rivière and Jérôme Fino, DIRECT OUT. Sound experiments in the streets of Mulhouse (France) during the Météo music festival

Arnaud Rivière, DIRECT OUT

Direct Out takes sound creation and sound distribution outside of the concert halls, galleries and other traditional venues for music. The artists behind the work, Yann Leguay, Arnaud Rivière and Jérôme Fino, DIYed their own instruments by repurposing existing gadgets and materials. They then walked around the city looking for street furniture, trees and objects that would make their autonomous modules beep, buzz and resonate. By hooking up onto existing infrastructure, the small devices adopt a parasitic behaviour but they do so while remaining low-key and unobtrusive. They never not attempt to compete with the existing soundscape. Instead, they quietly capture and reveal the untapped energy and confidential vibrations of the urban environment.

If you read french, poptronic has a great write-up of the work.

salle

Yann Leguay, Stück für Stöcke

Yann Leguay, Stück für Stöcke

With Stück für Stöcke, Yann Leguay replaced with a piece of wood the tablets and phones held by game players in youtube videos. All that remains is the player’s finger gestures. The removal of the usual visual references reminds us of that interfaces are of little use without our own movements. Something that has always been clear to a tech industry obsessed with identifying every single gesture that can be patented and monetized.

Tapetronic aka Alexis Malbert, Scratchette demo 2016

Tapetronic aka Alexis Malbert, Scratchette. Photo by Luce Moreau

Tapetronic aka Alexis Malbert, Scratchette. Photo by Luce Moreau

Scratchettes! The kind of work that cheers me up!

Since 1999, Tapetronic aka Alexis Malbert has been subverting, dissecting and transforming audio tapes, tape-recorders and other ‘old school’ devices into nifty little music machines. His instruments are as bizarre and charming as a ‘turntable’ for cassette tapes, a music sex toy vibrator or a Walkman on wheels. It’s about hacking, creating new sounds with old ones, but also about giving new life and purposes to bits and pieces of metal and plastic that could otherwise have been discarded:

“We’re not obliged to stay abreast with the new developments that big industries thrust on us,” he told Motherboard. “We can transform what already exists so that we can live a new experience.”

Tapetronic DJing his tape settings during GAMERZ. The most important part of his noisemaking art is not so much the K7 itself but the magnetic fields that can be scratched like vinyl:

Tapetronic aka Alexis Malbert performance at GAMERZ. Photo by Luce Moreau

Tapetronic aka Alexis Malbert performance at GAMERZ. Photo by Luce Moreau

Tapetronic aka Alexis Malbert performance at GAMERZ. Photo by Luce Moreau

I think i need to warn you about what comes next. It’s Windows 93 and it’s wild!

Windows 93 at GAMERZ festival. Photo by Luce Moreau

Windows 93 at GAMERZ festival. Photo by Luce Moreau

Windows 93 at GAMERZ festival. Photo by Luce Moreau

Artists Jankenpopp and Zombectro‘s spoof project imagines what could have happened if Microsoft hadn’t skipped a step between Windows 3.X and Windows 95.

The Moss and Roy of French art made a rather convincing parody of an early version of Windows, complete with a 8-bit version of Solitaire called Solitude, silly silly keyboard music, a cat explorer, songs for potatoes, a bit of always on trend GIFs, and icons you’re not sure you should be clicking on.

The speed is not what i would call optimal and as i wrote above, it’s proper bonkers. But also very clever and hilarious, even if you’re everything but a geek and you might not get all the references and innuendos

For the GAMERZ festival, the artists gave a 3rd dimension to their hallucinating pixelated online world and turned it into an installation that takes the form of ’90s cyber-café. It was interesting to watch people sit down and play with the operating system. What i found most curious was that it seemed to appeal to children, teenagers and middle age guys. Some stayed there for the nostalgia factor, others might have been attracted by the (intentional) dysfunctions refreshingly at odds with everything that is meant to make today’s mainstream ‘user experience’ seamless and pleasant.

Benjamin Gaulon, ReFunct Modular. Photo by Luce Moreau for GAMERZ

Benjamin Gaulon, ReFunct Modular. Photo by Luce Moreau for GAMERZ

Benjamin Gaulon, ReFunct Modular. Photo by Luce Moreau for GAMERZ

Refunct Modular is a wall-mounted version of Benjamin Gaulon’s ReFunct Media project. It uses a set of modules, each one connecting to the next using custom made connectors, they share power (5 and 12v), audio signal, video signal and spare lines for misc connections.

The sculpture hacks and repurposes discarded electronic devices, both digital and analogue, combining them into a complex chain of interconnected elements. The possible configurations and appearances of the final sculptures seem to be limited only the artist’s impulses and imagination.

ReFunct Modular doesn’t pretend to be an answer to the questions raised by e-waste, planned obsolescence and lack of sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.

Benjamin Gaulon, KindleGlitched*. Photo by Luce Moreau for GAMERZ

Benjamin Gaulon, KindleGlitched*. Photo by Luce Moreau for GAMERZ

KindleGlitched* is a work that explores the (so far grossly neglected) aesthetics of Planned Obsolescence. The work is a series of glitched kindles donated, found or bought on eBay. They have stopped working and would have ended up on a dump somewhere in Ghana if the artist hadn’t seen their singular beauty, signed them and sold them on Amazon as an insolent gesture of Retail Poisoning.

Reso-nance Numérique, Chimères Orchestra at GAMERZ festival

Reso-nance Numérique, Chimères Orchestra. Photo by Luce Moreau

Reso-nance Numérique, Chimères Orchestra. Photo by Luce Moreau

Chimères Orchestra are drummer-robots that hook onto urban structures. The metallic creatures play with the sonic capabilities of the built environment by drumming onto them with their little legs. The work is playful but also a bit mysterious and worrying. The creatures live above your head, dance with a mind that seems to be their own and seem to combine traditional percussion with coding mechanic with surprising ease. If simple machines can already exploit our architectures and music traditions now, imagine how robots will surpass and humble human creativity in the near future!

from We Make Money Not Art http://ift.tt/2kdleZo via IFTTT

[isthisstilllife]

(via Benjamin Gaulon aka (я) | RECYCLISM :: 2.4Ghz Version 2)

[cmpmajorproject]

SUPPORTING RESEARCH ON GLITCH AND GLITCH ART

The Glitch

As I have said in previous posts, the glitch is a particularly relevant notion for the right understanding of this installation. In this essay, I will explain my interpretation of this key concept to better understand its use within the project. The glitch has been conceptualised as the tangible and visual manifestation of something unexpected: the irruption of the unplanned (Virilio, 2003; Virilio & Lotringer, 2005). In digital culture the glitch has been described as “an artifact resulting from an error” (Moradi, Scott, Gilmore, & Murphy, 2009:8), signalling something gone astray in the works of the machine: the machine caught in the act of revealing itself. As such, the computer glitch is an event equally maddening and enchanting: maddening, because it disrupts expected and predictable sequences; enchanting, because it offers a glimpse of something that is usually hidden behind the screen (Marenko, 2014, 2016). For this reason, the project is proposing to consider the glitch as something that empowers the machine because of its unpredictability and its alien characteristic that make it incomprehensible and uncontrollable to human, but also as something that goes against the transparency of media to make the audience aware of the medium itself: “A glitch is an unexpected moment in a system that calls attention to that system”  (Britz, 2015:4).

“The glitch is an act of subversion, the machine now dictates the rules, rather than obeying them” (Menkman, 2011:30). Within this crumbling of expectations, the machine no longer behaves how it is supposed to, therefore the glitch can be read as the “creative process within a machine or program” (Menkman, 2011:5). Glitchy media establish a creative authority separated from that of the author, even when the brokenness is a direct result of actions taken by a human, the machine still gets a part of the action and it gets to express something of itself. Daniel Temkin defines glitch as “a cyborg art, building on human/computer interaction. The patterns created by these unknown processes is what I call the wilderness within the machine” (2014). Therefore, when approached this way, Glitch Art becomes “ a study of the dialogue between us and the machine, allowing us to share control of the project with the machine itself” (Temkin, 2014 ).

Glitch art

Glitch artists are concerned with finding the ‘Soul in the Machine,’ a sense of liveness within a computer or a program that allows the machine to be considered as an entity on its own. One of the most compelling ideas to my project comes from James Bridle's New Aesthetic (2012). In his essay he talks about how the glitch allows us to treat the machine as having a vision—even though we know it's not sentient—and just how strange this vision is, that does not hold human beings as its audience (2012). Curt Cloninger describes glitch art as "painting with a very blunt brush that has a mind of its own” ( cited in Temkins, 2012), glitch artists have been doing this for a long time, treating the machine as an equal collaborator and seeing where it leads them as they cede control to broken processes and ‘zombie algorithms’ (Temkins, date). Many of them have tried to allow the machine to function as an agent with its own agenda, by exploiting the uncontrollability and unpredictability of the glitch event. An example, which is very pertinent to the theme of this project, is the conversation between two algorithmically driven glitching bots on Twitter (Fig. 1). It began after Bob Poekert's  @a_quilt_bot sent a glitched image to @pixelsorter, a bot whose algorithms turn images into pixel-sorted glitch art, @pixelsorter sent @a_quilt_bot an image in return, signalling the beginning of a conversation in which the only participants were machines.

The Invisible (Prototype N°1) is a computer-generated digital installation (Fig 2) in which the artist HiraKawa exploits the glitch event in order to call attention to the system in itself. The artist builds a tangible demonstration of data flow and coding, allowing visitors to see “the abstract figuration of computing processes as they unfold before our eyes” making them aware of the medium existence and importance.

Most practitioners, as I will attempt to do with my project, have looked at the glitch event as a glimmer into the ‘soul of the machine,’ as something that gives the machine a sense of liveness and allow us to give up control to a computer or program. Despite this, during my research process, I have investigated further on the meaning of glitch and the different interpretations that various glitch artists have assigned to it. Not all glitch artists are driven by the same impetus when approaching Glitch Art. For instance, many of them are exclusively motivated by the aesthetic potential of glitches —like  Phillip Stearns’ Glitch Textiles (Fig.1) where he rendered the invisible language of digital technologies into textiles, or Rosa Menkman in her study A Vernacular of File Formats on the aesthetic of glitch effects on different file formats (2010).

Some glitch artists are interested in the glitch’s political potential like Benjamin Gaulon in Retail-Poisoning (Fig 2) where he intentionally inject corrupt / fake / glitched data and/or hardware, in existing online and offline retail outlets. Other artists have investigated the glitch’s psychedelic potential (Fig 3) , while others see Glitch Art as a mean to explore themes of memory , entropy , nostalgia , to call attention to the growing mediation  of our social relationships or as a lens through which to analyse gender and identity .

As explained before, Glitch Art is a practice that has been very welcomed in the digital media community. Many artists have had different interpretations of the glitch event and Glitch Art. Above, there has been a selection of the works that I have found most inspiring during my research. The list below contains the links to some other artists, researchers and key texts that I have looked at to expand my knowledge in this field, and more in general, in the field of digital art: Significant Practitioners and Researcher Rosa Menkman – – http://rosa-menkman.blogspot.ca Matt Pearson – http://zenbullets.com Philip Galanter – http://philipgalanter.com Nick Briz – http://nickbriz.com Matthew Fuller – http://www.spc.org/fuller Jon Satrom – http://jonsatrom.com Michael Whitelaw – http://mtchl.net Glitchr – https://www.facebook.com/glitchr Daniel Tempkin – http://danieltemkin.com Paul Hertz, GlitchSort, http://paulhertz.net/factory/2012/08/glitchsort2/ Kim Asendorf, Pixel Sort, https://github.com/kimasendorf/ASDFPixelSort

[deusexmens]

“El uso de la vigilancia remota para el control social ya está enraizada en nuestro espacio público, e invade la privacidad del hogar. Éste es un fenómeno importante, y el arte contemporáneo debe tratarlo, empleando las mismas herramientas para criticar su mirada escrutadora desde dentro.”

-Eduardo Kac

Fotografía:

© Benjamin Gaulon "Selfportrait" (from 2.4 Ghz Project) 2007

[glitchtheory]

[uts-art]

A mother of two from Chicago does not need to turn on the news for an update on NASA's space mission - all Natalie Meilinger needs to do is turn on her baby monitor. Since Sunday, Meilinger's baby monitor has been picking up black-and-white video from inside the space shuttle Atlantis

An article on the original incident that inspired Benjamin Gaulon's 2.4Ghz Workshop.

[uts-art]

Benjamin Gaulon

In 2007, a mother in Chicago inadvertently tuned in to a transmission from the Space Shuttle Atlantis on her baby monitor. Although NASA insisted the transmission was not coming directly from Atlantis, the monitor was certainly picking up the video signal, perhaps being streamed to another device nearby.

Many household items transmit on the 2.4Ghz frequency – some phones, modems, walkie-talkies, intercoms, remote control toys and indeed baby monitors. This works like the channel of a radio station. Information is broadcast from one device on this channel, and another device tunes in and picks up the information. Interestingly, footage from surveillance cameras is also often transmitted on this frequency.

French artist Benjamin Gaulon was inspired by this event to discover what other unencrypted video was being inadvertently broadcast.

Benjamin Gaulon’s 2.4Ghz Workshop invites visitors to the gallery to borrow a baby monitor and walk around the area to see what transmissions can be found. The activity does not actually hack into the surveillance system. It is simply tuning in to a particular channel into information that is freely available. Gaulon points out that as technology has become cheaper and more accessible, the public is using more and more devices on this frequency without realizing that they are actually broadcasting this information, or sending it out into the airwaves. If they can tune into it, so can their neighbour.

[robotools-blog]

PrintBall - Benjamin Gaulon www.recyclism.com/printball.php