About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

A Feminine Touch with Mechanical Art Devices

I wander into one of my favourite galleries in Geneva: the M.A.D. Gallery. It is a cool-chic space dedicated to wonderful mechanical things. I just sort of assume that this kind of beautiful stuff would be the exclusive domain of those born with a Y chromosome. Aren’t mechanics a boy thing? After all, we grew up with Meccano, Airfix and Lego and then graduated to tinkering with motorbikes that never started!

Mechanical Art Devices 1

Jennifer Townley, “Lift”

I am greeted warmly by Juliette Duru, the gallery‘s communications manager . “What’s new?” I ask. She introduces me to “Lift,” the work of Jennifer Townley from the Netherlands. Ah! A feminine touch in this exotic man-shed!

I stand before a silently moving arrangement of cogs and chains. The principal chain slowly draws ever-changing amoeboid forms on a round white background. All is beautifully proportioned. There is something immensely satisfying about it. It gives the impression that whatever this machine is designed to do, it is doing it calmly and efficiently. It is mesmerising precisely because there is an expectation of function but in fact, beyond the aesthetic, it has no mechanical function at all. I love it! No surprises that Townley’s major influence is the immediately recognisable and “impossible” graphic designs of compatriot, M. C. Escher.

Mechanical Art Devices 2

Gaby Wormann, “Callipogon tertius”

Juliette explains that this year’s collection includes another feminine touch. I am shown immaculately crafted glass display cases each containing a specimen of a huge insect the likes of which I have only seen in Africa or Australia. These are Gaby Wormann’s “Mechanical Creatures.” Stunning! She has delicately inserted hundreds of little cogs, springs and levers from watches into the exoskeletons of real beasts. I gasp at the originality, craftsmanship and attention to detail. Her pieces set up a kind of “What the ….?” moment. You could almost believe that the innards of these oversized bugs really were the stuff of a great horologist. I know that the next time I encounter some big beetle up close and in a quiet place I will creep forward and listen carefully just to make sure it is not ticking.

Wormann says she “deals with the themes of individual ethics and humanity’s uninhibited intervention in complex biological systems.” She doesn’t say “The viewer is invited to inspect a mechanical creature minutely and allow her- or himself to be filled with wonder!” For that is what one does instinctively; one doesn’t need an invitation.

When it comes to Mechanical Art Devices, I clearly have the boy thing wrong.

Geneva International Motor Show: Bugatti is the big celebrity!

Geneva International Motor Show 11

OK. I’m not a car person. But I am fascinated by the Geneva International Motor Show. It’s not just the cars. It’s such a sumptuous feast of gorgeous luxy design. It’s also quite an event for people-watching.

Geneva International Motor Show 12

Take a look at Bugatti’s Chiron! It has no equal. Sixteen cylinders with 8 litre capacity; top speed is 425kph; 1,500hp; and it’s priced at a cool $2.6 million! I’m not sure if it’s a car, a “work of art” or a celebrity. Whatever, the admirers crowd around, iPhones at the ready.

Geneva International Motor Show 13

Is it all status-life-style dreaming? Or can a car grab our attention like a celebrity? You’d think so. And it must be a guy thing. Not a single woman taking a photo! It seems that the Y chromosome is alive and well at this year’s show and is fascinated by new and expensive ways to cruise the chicks!

Geneva International Motor Show 14

On a more sobre and less testosterone charged front, I am one of many captivated by Nissan’s IDS Concept. This is the first driverless car I’ve seen. No steering wheel; just a touchscreen. I adore the lines, colours and the sleek wooden interior trim. It makes me feel future-happy.

Thousands upon thousands of people come to Geneva for this event. Whether or not cars are your thing, it’s worth a visit. It’s testament to the enduring fascination that man (!) has for automobiles and how some even have celebrity status.

Big Bang Data

Big Bang Data 1

If you visit only one exhibition this year, make sure it’s Big Bang Data at London’s Somerset House. Believe me! You have to go! I struggle to find the words to describe it. I get half-way there with “brilliant,” “admirable,” “vitally informative,” “challenging,” “jaw-dropping,” and “mind-boggling.”

The central theme is “big data.” It really is BIG! (Or should I say, they really are BIG?) The digital data universe is massive, globally connected and expanding exponentially. The ingenious and interactive displays of this beautiful exhibition focus on the technology and implications of what will prove to be one of the most important developments of the twenty-first century. The exhibition demonstrates how corporations, authorities and hackers can collect and analyse data about the environment, businesses and particularly us. It is at once wonderful and concerning. Big data has arrived uninvited and unannounced but is here to stay. It is already transforming our society, culture, security and politics. It is the human future as was electricity, air travel and television.

Big Bang Data 2

Telegeography, “Submarine Cable Map” 2015

A floor map shows the undersea cables that connect thousands of vast, impeccable and impersonal data storage banks. The cables and databanks are each the property of different corporations. Voila! “The Cloud!” (As the exhibitors point out, this is a misleading term. A cloud in the sky cannot be divided up according to different owners. Except for satelites, most of the physical infrastructure of The Cloud is on the ground or under water. There is no clear blue sky on the other side!)

Big Bang Data 3

Thompson and Craighead, “Horizon” Digital collage from on-line sources 2015

An elegant and benign manifestation of the possible is given by Thompson and Craighead’s “Horizon.” This displays a narrative clock made from real-time, constantly updated images from webcams around the world.

Big Bang Data 4

Rafael Lozano Hemmer, “Zero Noon” Software 2013

Rafael Lozano Hemmer’s “Zero Noon” is an unconventional digital clock fuelled by internet-refreshed statistics. It tells the time based on metrics such as hamburgers sold in Detroit or the number of animal species becoming extinct per day. At midday, the clock is reset to zero with display of a new statistic. At 14.30, it tells me that prostitution in the UK has turned over the equivalent of US$64,210 in the previous two and a half hours.

Among the 51 other displays, “Unaffordable Country” by the Guardian Newspaper is an interactive data visualisation that exposes the UK’s dire housing crisis. On entering their salary and postcode, around 96% of participants find that there is no affordable property in their vicinity. Paolo Cirio and Alessandro Ludovico use “Face to Facebook” to show how they stole a million personal profiles on Facebook to create characters on a false dating website, Lovely-Faces.com, classifying them by their facial features. With “Stranger Visions,” Heather Dewey-Hagborg has 3D printed human faces based on DNA that she obtained from objects such as chewing gum and cigarette butts collected in public places.

What I learn is that the volume of data generated by our everyday lives is booming in lockstep with the capacity to analyse it. Those who are in a position to harvest and use this data are in an increasingly powerful position to influence us individually and collectively. A fundamental physical tenet is that power without control can only be dangerous. Does it apply here? Do we have the wisdom to harness the power of big data responsibly?

Big Bang Data 5

EasyJet, Safety On Board, Laminated plastic card

I am on an EasyJet flight out of London and can’t help reflecting on what big data will mean for future generations. Next to me is a little girl of about three years. What will she make of it all as an adult? Unwittingly she tells me. From the seat pocket in front of her, she picks out the laminated Safety On Board card. She looks carefully at the shiny surface and stabs her little index finger into the icons assuming that the card will come to life and reveal something more interesting. She tries again. “Not working!” she cries out to her mother. I realise that big data will be a part of her life and that she will be no more concerned about it than I am concerned about electricity, air travel and television. I wish her well.