Gepostet vor 3 Monaten, 23 Tagen in
Jakob S. Boeskov hat eine Fake „Cyber-Waffe“ namens Face Jagges auf eine Messe für Security- und Waffenfuzzis geschmuggelt. Er hatte dort ’nen Stand unter falschem Namen gemietet und einen 3D-Druck-basierten Gesichts-Simulator präsentiert, mit dem Spione die Identität von Terroristen annehmen können sollen um online ISIS-Propaganda zu stören. Aufgeflogen ist er mit seiner Kunst nicht. Ganz im Gegenteil.
I created a fake website and called the organizers in Washington D.C. to present myself as a Danish cyber security entrepreneur based in Copenhagen and New York. I payed $5,200 to rent a booth under a fake name. The concept was that my weapon would allow federal agents to impersonate terrorists by using new 3D print technology. I called the weapon Face Jagger, a “de-criminalized” spelling of Face Jacker (as in ‘hi-jacker.’) I would create “spectacular simulations” which, when viewed online, would be perceived as reality.
This weapon would be brand new—from the future, even—but there would be nothing new about the concept. Camouflage and mimicry has been around since the age of the dinosaurs. The art of simulation is the art of survival. One might say that mimicry and simulation present something beyond good and evil. So on the surface, Face Jagger would be an antiterrorist weapon; an anti-ISIS weapon. However, on a deeper level, it would also be an anti-CIA weapon. The idea would be to investigate “military simulation.” […]
Face Jagger is the second installment of a planned “Pre-Crime Triptych.” Each part of the triptych represents an artistic action that deals with the notion of “pre-crime”—a term coined by science fiction writer Philip K. Dick. This concept describes methods of stopping crimes not yet committed. The concept was introduced in a science fiction novel from 1956, but the term could be used to describe many current practices in contemporary law enforcement and military and political strategy. Science fiction not only deals in the art of the possible, but also in the art of the obvious. In that sense, Face Jagger is not a journey into the fantastic, but rather a journey into normality. In each part of the Pre-Crime Triptych, I present an “imaginary weapon” in a real environment. In the past, I have called this artistic practice “sci-fi Conceptual Art” or “Fictionism,” and although those terms were not precise, they helped explain the projects’ operations. A more precise term to describe the technique used in the “Pre-Crime Triptych” would be “The Artefact Method.”