Refugee Screening: A Brief Introduction (and Request for Equipment)

Published today on The Science Creative Quarterly.

Southern Reflection

Oils on 50 x 60 cm stretched canvas (web store).

Since I feel like this short online essay actually culminates years of research (quite by accident), I feel compelled to reiterate the usual social truth of such things: all the mistakes are mine and all the right stuff took a lot of help from my friends. I have so many people to thank for supporting me in continuing my work—even as what that means continues to evolve. It is with warm gratitude that I recognize and celebrate my friends at Hack42 in Holland where my artist residency has given me so much inspiration, Osaka University in Japan where presenting this research-in-progress at their American Studies Seminar last spring as an Emerging Scholar helped me have faith in its importance and see where it could improve, and the hacker, artist, and other scenes in Berlin that feed my heart and mind so well. I also remain grateful for the following research funding sources that supported parts of this and other related research—a National Science Foundation Postdoctoral Fellowship, NSF Doctoral Dissertation Research Improvement Grant, University of Virginia Raven Society Fellowship, UVA Society of Fellows Fellowship, Louise and Alfred Fernbach Award for Research in International Relations, and William McMeekin, Michael & Andrea Leven, and Bernard Marcus Institute for Humane Studies Fellowships—and to particularly thoughtful and engaging partners in dialogue Rop Gonggrijp, Arjen Kamphuis, Jos Weyers, and Ken Alder in this post-doctoral phase; George Klosko, Sidney Milkis, and Nick Winter in dissertation-land; Robert Fatton, Michele Claibourn, and Stephen Fienberg in my early graduate research and beyond; and Clay Ford, my stats buddy and fellow-traveller into the brave new world of Bayes throughout.

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Revenge of the Church

Revenge_of_the_church

Oils on 40 x 50 cm stretched canvas (web store). Celebrates the Pope’s Revenge (a visual effect where the sun hits Berlin’s communist-built TV tower, or Fernsehturm, forming a cross of light), the role of the church in East German resistance, and the way in which religious institutions, cultures, and rituals can give us sanctioned frames for unsanctioned, biologically underpinned experiences that can in turn lead to changes in social norms on a vast scale (Sapolsky).

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The Day I Became a Romanian Hacker

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This is an essay on how I’m not voting this Tuesday in what some call an historic U.S. Presidential election, even though I hold American citizenship—and a Ph.D. in American Politics. I wrote it on Nov. 2 (All Souls’ Day), and decided it was unpublishable in the current climate. Then I re-read Noelle-Neumann on the “spiral of silence” and re-listened to “Sound of Silence” (a few dozen times). Noelle-Neumann theorized that fear of isolation and other isolating reprisals (such as loss of job, professional network, friends, housing, education…) would tend to keep most people silent once the terms of the discourse are set, especially if the discussion has an emotional, moral tone—and most people disagree with what is being said. This creates a spiral of silence wherein the powerful can set the terms of the discourse by speaking first, because reasonable people might then be afraid to say what they think.

Basically, Simon & Garfunkel—as usual—were right: “ ‘Fools’ said I, ‘You do not know./ Silence like a cancer grows.’ ”

It first occurred to me that I was a Romanian hacker—like Guccifer, the guy who helped expose Hillary Clinton’s use of a private email server for classified information—on the last day of Día de Muertos, All Soul’s Day, seven days before the U.S. Presidential election of—well, to be honest, we don’t know yet, it’s just occurred to me today. I’m fantasizing about what it will feel like when it comes, if it comes to pass. But today is not meant for fantasizing about the future. Today is for commemorating the dead, especially in one’s family.

Most of them are strangers to me, as is always the case, but moreso. My grandparents lived in Florida when I was growing up in Alabama—or so I think, having lost contact early on—and had all died by the time I was twelve or thirteen. What they failed to leave me in inheritance, family history, and apparent genetic longevity, they made up for in having been demonstrably European. My mother’s family is no help, being in turns British, Welsh, Dutch, and Scottish—mostly outside the current Schengen Area of freedom to move, live, and work in most of Western Europe. Besides, they were Protestants who were not chased off the Continent by Stalin, Hitler, or their shadows. But my father’s family took enough shit to be of possible use.

After fleeing persecution for being Jewish in Poltava (now in Ukraine) and Romania—making me possibly eligible for European citizenship today—at least some of them must have settled in New York City. Growing up in the Bronx, my granddad must have seen enough poverty and suffering to become a card-carrying Communist in the McCarthy Era. That’s what the New York University archive of his papers suggests, documenting his journey to Spain to fight Franco and fascism in the Abraham Lincoln Brigade, the first racially integrated military unit in American history. It was before the U.S. decided World War II was on, so risking your life to fight fascism was illegal. The adventure cost Abraham Lincoln Brigade veterans dearly. They were blacklisted.

So was I. Twice. The first time, when I was 20, was after the CIA had offered me a job as a counter-terrorism analyst. They subjected me to three lie detector tests that violated equal opportunity law—interrogating me about stuff like my loyalty to the President, sexuality, and sexual history—and then lied to Congress about not letting me file an equal opportunity complaint. I proved it in documents I later contributed to a national investigative series. But McClatchy later took down their polygraph cloud documents from the series, and my former Freedom of Information Act (FOIA) lawyer took down the documents we had obtained during my years of graduate research on technology and bias. Both sets of documents came down around the same time as my second blacklisting. I also fired my FOIA lawyer, in a conversation during which he called me sweetheart (I told him to stop), refused to use encryption when I asked, and laughed when we talked about how I might get killed, around that time—but he pretended not to notice.

I had changed my name and moved cross-country twice without telling anyone in my family. No one noticed except my mother, who I had fallen out with when she changed the locks on the house we shared when I attempted to move out after taking care of her for ten years. I haven’t seen my father in over 20 years. It’s not complicated. My family needs to be trapped in a spa together on really good drugs and talk out some shit. But they never will. And the fact that I’m willing to talk doesn’t mean I’m any good at it. So it took nearly a year and a half after getting on a plane with a backpack with no plans to return to the U.S., for it to occur to me that I might not have to worry about my visa to remain in Europe until I’ve lived in Berlin long enough to apply for permanent residency or citizenship. I might be eligible for citizenship where these nice dead people I never knew and know nothing about came from.

It’s a bittersweet realization in the context of the ongoing refugee crisis. It seems a cruel irony that I might be able to attain with a piece of paper from people I never knew, the European citizenship that thousands of people die every year trying to get in line for. But such reflection is itself a luxury. I would like to legally have a right to live and work where I live and work, beyond the temporary relief of living visa to visa. Without that right or that visa, I would find myself adrift again in the world—perhaps on a plane to Southeast Asia to teach English and volunteer-stay in hostels, or otherwise bouncing between being here—building my new life in Europe—and being where I’m formally allowed to be that is not the U.S.

Romania seems like a better bet than Ukraine. Despite what the Defense dodos in their infinite paranoia may have decided, I don’t work for the Russians. War is not exactly my cup of tea. I can’t watch gory movies or throw a punch in the neighborhood kickboxing studio. (I tried, froze up, left, and cried.) But Romania, other than being a place I have never visited and know next to nothing about, sounds lovely.

My prospective new country was one of the most infamous European bitches of the CIA’s torture and rendition program, along with Poland. And border guards in the capital of Bucharest have continued their collaboration with U.S. security forces in recent field experiments testing next-generation polygraphs as mass airport screenings. I’d like to stop those screenings from becoming widespread, because they stand to contribute to the deaths of millions of innocent people. I’d like to see high-level U.S. officials held accountable in a court of law for war crimes including torture. And I’d still like to be a ballerina-fairy-princess-bride, my amalgamation of Halloween costumes the last year my parents were married and we lived in a big, light and air-filled house on a sunny, one-acre plot full of dogwoods and bunnies.

My angel costume from this weekend is packed away neatly in the wardrobe of the master bedroom in the big, light and air-filled apartment I share with my partner. It had been over twenty years since I had dressed up for Halloween. I dress up more and pretend less now than in past lives, like when I was a postdoc at Harvard with health insurance that only worked in California and a name change certificate from the county courthouse in Virginia. My new name is right. My new country is right. My love, my career, my world makes sense here now, although I doubt I’ll ever be able to explain how I got here—involving as it did a lot of whistling in the dark. But now I’m a young painter living in a city full of young creatives, free people, real food, public transportation, gun control—the standard American expat gush.

And I just might be a Romanian hacker, too. If my dad digs up papers, if they exist, if the right nice dead people were in the right place at the right time, if it’s not one great too grand a parent to count. If I don’t have to renounce the American citizenship to get the Romanian one—because much as I’d like to be as thoroughly un-American as I feel, an Eastern European passport simply isn’t as useful as one from the West. Knowing renunciation will be required when I become German, I had gotten excited about the idea. In part because it seals my long-term sustainability here in a way. I don’t have to worry about making enough money painting and writing to renew my freelance artist visa, if I live and work here by right. But also in part because I worry I’m not even free to entertain the thought of renouncing without losing the rights and protections my citizenship is supposed to (but doesn’t) afford me.

Is it a crime, or a thoughtcrime, or a declaration of punishable disloyalty, to profess alienation from what America has become? The U.S. is about 5% of the world’s population, but uses about 25% of the world’s resources. For years, the government has been waging several undeclared wars, using flying killing robots and the strongest military in the world to target weddings, funerals, and hospitals—to get at targets including U.S. citizens who have received no due process before targeted assassination, and children.

Perhaps the most famous of those targets was Anwar al-Awlaki, an American preacher killed in 2011 by a U.S. drone strike in Yemen. Al-Awlaki preached violence against the U.S., but had not renounced his citizenship. Some speculate that renunciation requires intent. Others point out that al-Awlaki’s sixteen year old son Abdulrahman, killed in a separate drone strike, might not have been legally eligible to renounce his citizenship as a minor even if he had wanted to.

Was the kid on the kill list? If I protest that my country is no longer mine because it kills civilians without due process, spies on its citizens and the world without probable cause, tortures and kills with impunity those it deems to be threats, and has no effective judicial or legislative process for reviewing the actions of law enforcement and intelligence agents who perform these acts—is that a renunciation? Do I have to worry that, like Edward Snowden, I could wind up in an airport with no legal way out because the State Department decides to revoke my passport—just like I was required to resign from my postdoc doing police research because my then-boss said the State Department was a partner and “the organization can’t be associated with someone who appears to have been a whistleblower”? As artists, intellectuals, and other people essential to free societies have long asked: “Am I Free?

Like the nice dead people I’m thinking about today, if consciousness endures in some way as yet unknown or unknowable to scientists, I’m free within. But just as they’re not free to cook applesauce or paint—to do living things—I’m not free to change the nature of my time. Perhaps that is the province of the dead. To live forwards and backwards without regard to the curve of history.

But for now I’m trapped here, in the second McCarthy Era. We all knew it would come. The election result will matter for a lot of people, but not for people like me. Neither electable candidate in our two-party system offers to reinstate rule of law, implementing the U.S. government that is such a good idea I carried a pocket Constitution for years. I brought it with me when I got on a plane with a backpack without telling anyone I wasn’t coming back. Now it’s signed by the likes of National Security Agency whistleblower Thomas Drake and South African apartheid resistor Tim Jenkin. If it weren’t for the signatures, I’m not sure I’d want it anymore. It’s a nice novelette, but it’s a fiction. I lost that country a long time ago.

As a wise woman recently reminded me, many extraordinary people did—some of whom still live there. It is useless to mourn this universal human perfection of what Elizabeth Bishop calls the art of losing. We go on amid the imperfection of the world and the perfection of our losses, because we find our place, as Mary Oliver says, in the family of things. Because eventually, given enough space and time, wild geese and rest, fire and friends, happiness simply becomes too hard to resist.

Next Tuesday, for the first time in my adult life, I’m not voting. I’ve already voted with my feet. I’ll be at home in Berlin, imagining what it will be like to be a Romanian hacker. I’m not a very gifted hacker; mostly my hacking has involved breaking other people’s toys using cognitive psychology party tricks. I’d rather be a German painter, but it’s a tougher gig to get. Better than an American by half—I already have better health insurance as a freelance artist here than I ever had in the States. The Europe is vast and unimaginably well-regulated—although illegal surveillance and intelligence activities corrode democracy worldwide. Perhaps such found bits of accidental civilization amid wreckage are the province of the living—that, and the finding them by stumbling into the unknown. That requires having enough hope to imagine what were previously unimaginable futures. God knows we need them; but Eastern Europeans know that God is dead.

Or, as Romanian playwright Eugène Ionesco observed: “God is dead. Marx is dead. And I don’t feel so well myself.” Nothing a little heiße Schokolade und Sauerkirschen won’t fix. I wonder what my grandparents liked to eat. On All Souls’ Day, you’re supposed to enjoy your dead relatives’ favorite dishes and think of them. But I don’t know how my granddad took his coffee. What kind of jam he liked, on what kind of toast. How he spoke to his wife, gestured while he spoke, moved in the kitchen, in the world. How he loved. His own papers didn’t say. And the FBI claimed, when I asked, that—had his files existed (as they generally did on Abraham Lincoln Brigade vets)—they would have just been destroyed.

The Stasi files in the former East Germany have been preserved for future generations. People here often remember from experience what it was like to live in a surveillance society. How the spiral of silence worked not just politically to silence minority opinions—as recent research found true also for simply knowing one is under mass surveillance in the U.S. today. But how that spiral of silence also worked within families. When surveillance stifles political expression, it also stifles personal expression. When oppression poisons trust in communities, it also poisons trust in families. There is no line. The political is personal. Surveillance is a psychological attack on freedom of all kinds. 

The fabric of society is at stake, now as ever, in whether or not we can talk to each other, empathize, make mistakes, ask questions, listen—and carry on. Germany may have a stronger resistance culture because of its history and laws, but the U.S. too has a long history of resistance to tyranny including laws that promise due process, freedom of expression and association, and other basic rights. If only its citizens were allowed to choose a government that might implement those laws.

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Surveillance Sonnet #73

Published today on The Science Creative Quarterly

PRISM

Oils on 80 x 100 cm stretched canvas.

“Surveillance Sonnet #73

Light comes in many colors: ROYGBIV, above, below, between.
Cables bring light across borders, so we’re closer than we’ve ever been.
Optical fiber cables carry light with digital information.
That info contains the phone, Net, and TV of a nation.

That time of history thou mayst indeed behold
In which kings and soldiers take back their hold
On riches such as bouncing light
Carrying the world’s internal might.

In the USA NSA’s XKEYSCORE and PRISM,
And other countries’ security services too—
They break the telecoms light up with a prism
To spy on me and you.

Sometimes they bend the wire instead.
Light escapes either way. Due process is dead.

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Letters to No One

Letters to No One

Oils on 40 x 50 cm stretched canvas.

The last song in my planned set of 12 new Berlin-era songs: music, lyrics. When I moved here in November to focus on my art in what seemed to be the best European city for a young artist today—cheap(ish) food and housing, lots of other artists and intellectuals, everything you could possibly want going on most nights of the week, above all the feeling of freedom (and the safety to act on it)—I found I couldn’t sing my old songs. So I figured I would write new ones, and that would solve the problem. Most of my favorite albums have about 12 songs, so I settled on that number. I’ve written more, but these are the ones I could see learning to performance level and playing in the park.

But what I have now is not really 12 songs. It’s more like 12 draft vocal tracks of the sketches of a dozen new songs. In theory now I can listen to the 12 while I paint, sing to the drafts to learn them better without thinking too much, and play around with accompaniment on my Midi keyboard until it sounds right. In practice now probably I will just go “Oh, right—I’m not a musician! Haha! Other people are really good at this, have trained for 20+ years by the time they’re my age, and I just sort-of sing quietly to myself sometimes when I’m sure no one can hear!”

And refocus yet again on painting beautiful new art to sell, because my art is worth something.

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Parliament at Dawn

Parliament-at-Dawn

Oils on 60 x 80 cm stretched canvas. 

Commissioned by the Honorable Jakob Maria Mierscheid, MdB (SPD). Painted from a photograph I took at dawn, after biking around the ghost town of sleeping summer Berlin in the early morning light.

Parliament houses the only Parliamentary inquiry globally to date investigating American mass surveillance and targeted surveillance of political leaders like German Chancellor Angela Merkel. U.S. Director of National Intelligence James Clapper called the inquiry “more dangerous than the Snowden revelations,” illustrating the danger the American deep state perceives itself to be in when democratic partners insist on rule of law.

The medium fits the message here in that sense. There’s license with the photorealistic aspect, just as there’s interpretation in law. But it’s moored in the proportions of reality. Just like rule of law. (Right, guys? RIIIIGHT?????)

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My High Road

My High Road

Wet oils on the fifth layer or so on 40 x 50 cm stretched canvas. Thinking of a long-promised land in California I’ll never see. Illustrates…

A new song (or poem if you just read the lyrics) about how thriving is the most moral thing you can do in response to immorality.

This is the 11th happy (ish) song I’ve written since deciding all my old songs were too sad to sing, and I’d have to write all-new material to even figure out if I can sing in front of myself—much less anybody else. And it still manages to have this sad back-story, or series of sad back-story meanings when I think about it.

In any event, at #12 I can stop and reevaluate whether I want to use these vocal sketches to learn the lyrics and melody, compose and learn proper accompaniment, and revisit public performance as a thing I do as an artist… Because I fantasize about it, but maybe it is just a fantasy because I’m a quiet poetpainter more than a stand-up in spite of my experiments. And because everyone knows an album has at least 12 songs you can sing with happy families in the park on Sunday. Otherwise you need to learn Beatles covers for wedding gigs, and then you might as well get a job in advertising, and we know where that ends.

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Web Store Open

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As those of you who get my newsletter know, my new web store is open! Eventually it will be the landing page of this lovely new website you’re reading my blog on right now. It will also accept credit cards, tailor shipping costs (currently included), and include an option to commission work. And I’m on my way to making the income I’ll need to renew my artist visa, to keep living here in Berlin! 

Please take a look and let me know what you think if you have time. Thanks for supporting my art.

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Growing Drafts, Successful Show, New Store Coming Soon

German Parliament draft etc

It seems I have been taking a summer vacation. Weird.

Still, new paintings of larger and different sorts are in the works as I synthesize good feedback I got from smart people, rest my sore hand, and find new inspiration. For example, I’m working on a larger painting of the German Parliament building (or Reichstag)—from a photo I took very early one morning when the northern European summer light was incredibly beautiful and the streets perfectly empty. Like the rest of the world, I also can’t stop looking at this.

Life drawing happens in my living room now, of course. But I can’t take photos of that, to work from more slowly… So lately I’ve also been painting on some small, fast works that also don’t feel done.

Similarly, a few new vocal track song drafts from vacation are online (here and here). Someday I will figure out how to write proper accompaniment for, practice to performance level, and perform my new Berlin music oeuvre. For now I’m just trying to get together a dozen new songs I actually want to sing. I’m up to 10—15+ if you count everything I’ve written lately, which I don’t. I found when I moved here in November that I simply couldn’t sing my old stuff anymore. I didn’t want to memorize any of my published poetry. I want to keep working on performing as an artist, but don’t know how exactly. I’m still not sure there’s a voice of mine to be found in this vein. From how people respond there’s more clearly a “there there” in my painting…

Thanks again to everyone who made my first Berlin gallery show last month at ReTramp a success. Now the beginnings of my new Berlin painting oeuvre are back home. It feels so good to have them also rephotographed with proper tripod and camera. For the first time, you can now see the colors and textures in my paintings—in their photographic form. That first improved curation step done, I’m setting up a new and improved online store… With a little help from my friends (read: a lot of help from Mr. Wolf). I hope it will be online later this month, but we’ll see. (I need yet another German number for tax things, and such.)

I wouldn’t be me if I weren’t writing. But I do so need to launch this European art career. So I’m also working on a book proposal reinventing the research memoir I tried writing last fall, thinking of Françoise Gilot—the painter and memoirist who fled into art from law studies under Nazi pressure, and then left France and Picasso for a new life in America. Still I’m not sure I should return to the work that led me to leave academia and the States. I’m so glad to be here now.

In the meantime I’m still learning German through cooking and love, and will continue this summer vacation thing with light posting, longer work sessions on fewer paintings, and more inspiration-seeking than thing-making for a while… Much as I need to write and make and do every day. It has been time for a rest.

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PRISM

PRISM

Oils on 80 x 100 cm stretched canvas. 

Illustrates how security agencies like the U.S.A.’s N.S.A. break into fiber-optic cables carrying entire countries’ phone, Internet, and TV communications using a prism or bending the cable to leak and intercept the light in illegal global mass surveillance programs like PRISM.

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ReTramp Gallery Show thru Sunday

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Last night I rehung my first Berlin gallery show in the front room of ReTramp Gallery, with more works. Cartwheeling occurred.

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Since moving into my new home studio in late March, I’ve managed to create enough finished work for a solo gallery show in Berlin (my first). I approve.

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The work showcases a range of styles and subject matter, although it’s also all in my voice. (Or vision, as the case may be.)

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The opening on Monday night was a great success. Friends and family came to gawk and talk.

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Thanks to everyone who helped make my first Berlin gallery show a success, especially my partner Mr. Wolf and ReTramp gallerist Verity Oberg.

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Work hangs through this Sunday, July 18. Until then the gallery is open Wed., Fri., and Sun. 17:00-20:00 and by appointment. After that you just have to come over for coffee to see my art—until I get another show.

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(Who says painting isn’t a performance art?)

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The Eternal Idol

The Eternal Idol, after Rodin

Oils on 40 x 50 cm. After Rodin’s Eternal Idol. 

This is another of the first finished works from my new Berlin oeuvre, from Day 2 in my new home studio. It’s hanging now at ReTramp gallery in Berlin, where I’m hanging more work tonight. My solo show—my first here!—continues the rest of the week.

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Penelope Wraps It Up

Penelope wraps it up, after Archipenko's Box

Oils on 40 x 50 cm stretched canvas. After Archipenko’s Box.

This is one of the first finished works from my new Berlin oeuvre. I made it on Day 5 of work in my new home studio after not having a dedicated studio space for about a year. It’s hanging now at ReTramp gallery in Berlin, where I have a joint opening tonight… And a solo show (my first here) the rest of the week!

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Gallery Show in Berlin, Retramp Gallery, 11-15 July, 2016

retramp

Yay! I have a gallery show! In Berlin!

If you read this, and you’re in Berlin, please feel invited to the opening of my first showing of the new Berlin oeuvre on Monday the 11th of July, 2016, at 19:00. It’s at ReTramp gallery, Reuterstraße 62, 12047 Berlin.

The work will be there at least through Friday the 15th of July, maybe longer. The show begins as a group show with cutting-edge hyperimpressionist Italian artists, and continues as a solo show of my latest work.

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New Paintings Hanging at Home

New Paintings Hanging at Home 07-04-16

Finally got a batch of over 20 paintings in my new Continental oeuvre completed. I paint the sides with acrylic because oils are too hard to turn and dry for that finishing step. It’s a chore, it requires different tools, and some artists don’t bother with this step. But once you’ve seen the sides painted, you cannot look at the other and not see unfinished product.

We also tried three new ways of mounting and stringing monofilament (clear fishing tackle) on the backs for picture rail hanging. Picture rails are rails you install on the top of the wall to hang paintings from—a way of hanging lots of galleries and artists use that keeps their walls from swiftly becoming Swiss cheese from nail holes. With a little trial and error (and some new tools), we hit on a new way of jiggering canvas to hang, on picture rails or otherwise. It involves a really serious stapler, and is fast, easy, sturdy—professional.

It feels so good to have my work hanging in my home. Suddenly my art is alive again in a very real way. Time for a show…

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Hope

Hope bird v. 06-29-16

Oils on 40 x 40 cm stretched canvas. 

A remake of a favorite painting (that was yet only a layer), inspired by a favorite poem (Emily Dickinson’s “Hope”), which I also made into a song last year. Not to be confused with a favorite remix (Flic Flac’s “Hope/The Great Dictator”) of a favorite speech (Charlie Chaplin’s “The Great Dictator”)…

“Hope”

By Emily Dickinson

Hope is the thing with feathers—
That perches in the soul—
And sings the tune without the words—
And never stops—at all—

And sweetest—in the Gale—is heard—
And sore must be the storm—
That could abash the little Bird
That kept so many warm—

I’ve heard it in the chillest land—
And on the strangest Sea—
Yet—never—in Extremity,
It asked a crumb—of me.

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Anonymous Love (Reprise, reprise)

Oils on oils on oils on 40 x 40 stretched canvas. 
Oils on oils on oils on 40 x 40 stretched canvas. 

TODAY! 

is the deadline to play my art raffle game.

Also the day a two-day hearing starts in the UK in which a student fights US extradition. 

 

WHAT? 

The game: give one euro, get one chance to win a painting. 

The student: electrical engineering student, Finnish conscientious objector, UK hacker, musician, privacy and surveillance expert, computer scientist, Occupy activist, certified Aspergiac, and alleged Anonymous participant in peaceful political protest that large numbers of people participated in as part of #OpLastResort, Lauri Love

 

HOW?

Donate to Lauri Love’s Courage Foundation legal defense fund in support of his fight against US extradition. Just give to Courage directly and email me the receipt. 

 

WHY?

Play my art raffle game now, or else I will keep painting over this layer of a reprise of a painting of a few variations on a  general theme or two until I like it or throw it away. 

Also because shit is so fucked up that people like Lauri and Aaron even have to fight these battles. They tend to have to do it with very poor institutional and social support. They cannot and should not have to do it alone. 

Thanks to everyone who supports Lauri, Courage, and the freedoms of speech, association, information, thought, and active conscience for which they stand. 

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Chelsea

Oils on 40 x 50 cm stretched canvas. Edited to credit Yan for providing recent images on which portrait is based—thanks.
Oils on 40 x 50 cm stretched canvas. Edited to credit Yan for providing recent images on which portrait is based—thanks.

Portrait of truthteller Chelsea Manning. There’s also this song I wrote about her, one of the first in the “new Berlin oeuvre I can’t sing in front of other people” collection. Support Chelsea through the Courage Foundation. 

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Fire and Ice

Oils on 40 x 50 cm stretched canvas. Yet another close but unfinished layer that gets painted over again unless you pry it from my hot working hands. 
Oils on 40 x 50 cm stretched canvas. Yet another close but unfinished layer that gets painted over again unless you pry it from my hot working hands. 

Here’s another song I’ve been trying to get out of my head (at least) since moving to Berlin in November, about “fire and ice.” It’s a reiteration of this essay (among others) in my erstwhile surveillance series for the now-dormant Rebel News. Here are the lyrics

Now there are seven new-era Vera tunes no one but me can hear me sing (except all my friends from the Internet, as long as I can’t seeeee yoooooou)… 

Of course the whole impulse can be parodied so many ways, and this one in particular strikes me suddenly as ridiculous even while it might resonate. One of my favorite singers already sung it better; and one of my favorite poets already said it better… 

“Fire and Ice”

By Robert Frost

Some say the world will end in fire, 
Some say in ice. 
From what I’ve tasted of desire
I hold with those who favor fire. 
But if it had to perish twice, 
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.

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Blue Sky of Life, Blue Sky of Death

Oils on 40 x 50 cm stretched canvas. 
Oils on 40 x 50 cm stretched canvas. 

This is a new poem and painting apropos the German heart of America’s drone war that has killed thousands of innocent civilians and made children afraid of blue-skied days. Building on my ongoing attempts to update the Friedrichstrasse Banhof Kindertransport memorial “Trains to Life, Trains to Death,” and more generally to make art about the refugee crisis as it relates to the mass displacements generated in part by American foreign policy. If you want to know more about the costs of war, there’s a project on that

Our lavender blooms velvet and honey.
The birds sing of sweetness in cool evenings
as the summer sun lingers late and long. 
The same soft blue sky that holds me tight
in kisses and whispers of tomorrow and tomorrow and tomorrow—
far away makes grown men cower and children cry. 
We have made our fellow man afraid of the blue sky. 

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Fruit of the Forbidden Tree (InfoSexy Playlist)

“Fruit of the Forbidden Tree,” oils on 40 x 50 cm stretched canvas. 

Information security is everywhere—if you know where to look. Most people don’t know they can take simple steps—like using smart phone apps Signal or WhatsApp to encrypt text messages and phone calls, or browsing the web using anonymizing free browser Tor—to reduce their vulnerability to some common forms of attack (at the low-level criminal level) and monitoring (at the state-level attacker level). But everyone knows the lyrics to that M.I.A. song about evading surveillance… Right? No? Did the U.S. Supreme Court yesterday potentially kill off the fruit of the forbidden (or poisonous) tree doctrine, weakening Constitutional and common law protections against arbitrary search, seizure, detention, and interrogation, and no one knows the playlist that addresses this problem?

Alright, then. Time for the Infosexy Playlist.

1. M.I.A.’s “Paper Planes.” How should you call me if you know corrupt intelligence and police agencies worldwide are scooping up meta-data (e.g., who calls/emails who for how long and how often) without warrants and using it to map social relationships that then feed into robot killing programs on which they won’t release civilian casualty data—and you’re either paranoid or brown and Muslim, so that freaks you out a little? You could use Signal or WhatsApp, but that provides end-to-end encryption that at best (if your endpoints are secure-ish) protects your content. Your meta-data still gets scooped up. Maybe it’s just the fact of the phone call that gets some people robot-killed. So maybe you want to “hit me on my burner pre-paid wireless.” (Can somebody also please just take Defense’s money already?)

2. “Manning: Gaga.” Take Lady Gaga’s “Telephone”—a song Chelsea Manning allegedly lip-synched to while leaking classified documents. Add WikiLeaks’ “Collateral Murder“—a video edited from footage Manning allegedly leaked showing (still unprosecuted) American war crimes in Iraq. Shake. Stir. Shake again. Stir again. Move around your cell a little more. You have time for all this and more if you’re serving the longest sentence ever served for disclosing classified information to the media by a factor of wtf. 

3. Lady Gaga’s “Poker Face.” If you’re ever interrogated, it’s probably a good idea to shut up, stay calm, and remember that there’s no such thing as “lie detection” because there is no unique behavioral, physiological, or verbal lie sign to detect. Police tend to think they can do things like telling true from false confessions… But they’re really no better at it than untrained people (which is to say, wrong about half the time). They are just more sure than regular people that they’re right. So say “lawyer” or “embassy” a few dozen times (after the “respectfully, sir” part), and know that “he can’t read my poker face.” 

4. “The Sound of Silence” (Simon & Garfunkel) is what your line is after that. 

5. Rick Astley’s “Never Gonna Give You Up.” One of the only hit songs that has a line you can sing to interrogators, and another you can sing to your friends! To wit: 

Police: Why you no confess? 

Astley: “You know the rules and so do I.” 

Police: Weirdo. 

Friend: Are you gonna give me up? 

Astley: “Never gonna give you up/ Never gonna let you down/ Never gonna run around and desert you/ Never gonna make you cry/ Never gonna say goodbye/ Never gonna tell a lie and hurt you.” 

Friend: Freak. 

6. Lianne La Havas’s “What You Don’t Do.” Maybe you don’t always take your phone with you when you go for a run or on a vacation—so that pattern of leaving it at home for a while when you’re elsewhere is normal. Maybe you don’t write down passwords on stickie notes, or ever give them to third parties—so that they are actually secure-ish. Maybe you do all those things but could stop. Sometimes, better security is what you don’t do. 

7. Sting’s “Every Breath You Take.” The original creepy stalker song. But when you have to wonder if your webcam has been re-engineered as a tap or something, because we actually live in a world in which the NSA does that—you might as well sing it to the surveillance state. 

8. Did you know that in some countries and U.S. States, you can actually say “My name is Trouble/ My first name’s A Mess” when stopped and asked for identity? You probably shouldn’t because widespread police use of torture has a long historical tradition in America and abroad. And it might not help you in the U.S. now anyway, since yesterday the Supreme Court ruled in Utah v. Strieff that police can use what’s traditionally called (and excluded from evidence as) “fruit of the poison tree,” or evidence from an illegal stop and search. But Strieff is specifically a case about police stopping someone on an anonymous drug tip, then ID’ing and running the dude’s name, getting an outstanding warrant, and then searching him. Without the ID, it seems they would not have had a name to run—thus no search for the warrant, and perhaps then no search. This points to one of the reasons Strieff and other cases that weaken Fourth and Fifth Amendment protections are dumb: they incentivize non-cooperation with police, at the level of refusing to give your name unless you are legally required to do so. 

Keren Ann must have known this, because she put it in a song. At the everyday level, this is about asking if you’re required to do something police ask, before complying. At the infosec level, one application of not giving your name (or, per Ms. Ann, giving your name as “Trouble A. Mess”) is also not having your electronic devices on and accounts signed into when you’re crossing borders. Those are forms of electronic ID that you’re not really required to give, but protections are hazy (e.g., for foreign nationals crossing the U.S. border). So don’t show that you even have them, or you may be asked by border guards to search your own email so they can read it. Then, like police in Strieff, they can use the results (e.g., if you’ve been looking for work without the right visa) against you. This has actually been the reality for non-U.S. citizens for, well, all of U.S. history. 

9. Sometimes I think I should have always kept my damn fool mouth shut about all th
e things, instead of spouting off when I must and ending up penniless in Mexico City with a bad haircut (for example). But actually, I don’t regret standing on the side of people who at least try to “Yell Fire,” as Michael Franti says. Sometimes you figure out what you’re trying to say by trying and failing (and trying and failing, and trying and failing) to say it. That’s not an infosec thing so much as a free speech thing… Unless you don’t want to learn this the hard way, and just blog pseudonymously from the beginning. The downside of hiding properly is that you might not meet a bunch of cool people who get it. The upside is that you will probably be a lot safer. 

10. But what do you do when yelling fire doesn’t work? When your voice can’t affect change in the declining firm, organization, or state to which your loyalty is presumed? According to A.O. Hirschman, your alternative course of action is exit. In (Nancy Sinatra’s) other words, “These Boots Were Made for Walking.” That can mean getting your data off American servers in infosec terms, since a European high court ruled in October that, in effect, American law and intelligence agencies’ cozy relationships with big data-holding companies like Google, Facebook, and Amazon was violating Europeans’ human right to privacy, reminding them of Stasi surveillance on steroids—so the Safe Harbor treaty governing storage of that data was off. (See also the third point in this essay.)

Or you could read that exit option in a broader way. Just as no device is absolutely secure, no place is absolutely safe. But chocolate in Europe is better. 

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Anonymous Love (Reprise)

Oils on 40 x 40 cm stretched canvas. 
Oils on 40 x 40 cm stretched canvas. 

Finished another few layers on this painting I made to raise awareness and funds for Lauri Love, a U.K. hacker who did good work as an Occupy activist, won a big privacy victory (against a forced decryption attempt—i.e., let us search your encrypted device even though we’re not pursuing an ongoing investigation—we just want to look because we can) last month, and is fighting U.S. extradition with the help of the Courage Foundation for allegedly participating in Anonymous’s #OpLastResort in peaceful protest of the Obama Administration’s overzealous prosecution (combined with academic institutional spinelessness) that resulted in Aaron Swartz’s death

It’s not done yet… Sometimes they’re never done. 

But if you like it, or another painting you’ve seen here, you can enter my ongoing raffle to win a painting by donating directly to Lauri’s Courage Defense Fund by 28 June and emailing me the receipt (vera at verawil dot de). One euro = one chance to win. So the more you support Lauri the likelier it is you get pretty art. 

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