Mueller (Report + Manafort Response) Redactions Printed With Invisible Ink


Smoke, burn scars, lemon juice, hope on paper with all-over large-format laser debossing. Open set of 3 with “Enso/Zero” burn monoprints one white print, on 300g/msq white velvet somerset paper, 30 by 44 inches (760mm x 1120mm). With Emily York and Courtney Sennish.

2022


In 2019, a heavily-redacted version of the Mueller Report was made public. On the thirteenth of May this year, another heavily-redacted addendum was made public as part of the Paul Manafort sentencing, the Mueller Manafort Response.

If you take both of these documents, add them together, and shrunk every page down such that 486 pages fit on a 44 x 30 inch sheet of paper, it’d look like the black and white image below. Reading left to right, row one to two, etc. Every raised bar is redacted text.

Hey Bob Mueller, I cannot read this.


We stand on the shoulders of giants.
Profound thanks to Alex Thompson at Pagoda Arts, Emily York and Courtney Sennish at Crown Point Press, Kate Randall (invisible ink, burn art history, burn safety), Ian Roxbourough (combustion).

Agnes Martin,
John Cage(1, 2),
Nam June Paik,
Birgit Skiöld,
Nance O’Banion,
Jenny Holzer,
Cai Guo-Qiang

MMRL

Media Metadata Research Lab (MMRL) is a San Francisco-based art research collective
working at the intersection of data visualization, digital art, and cultural analytics. We
develop quantitative and qualitative methods for measuring and representing diversity in
media. MMRL members are Abigail De Kosnik, Benjamin De Kosnik, Veronica Jackson, Matthew Jamison, and Jaclyn Zhou.

Included below are work-in-progress graphic outputs from an experimental intersectionality tagging and visualization system being developed by MMRL for film, television, streaming, web content, and social media.

More information is available in the MMRL repository.

Playing With Fire*




Inkjet on washi, folds, PVA adhesive, titanium-zinc white oil paint stick, mylar tape, washi tape, glitter, handwritten notes in graphite.

Playing With Fire* (Peer-Centered Network Map), double-sided inkjet and foldable. Dimensions 22H x 68W inches, unfolded. Edition of 5.

Upside-down At Any Angle (Peer-Centered Network Map), single-sided inkjet triptych of 31 x 22 inch panels. Dimensions 66H x 31W inches.

2019, 2020


Internet maps composed of three components: sixteen months of the locations of people that share gun files on the internet (black circles), the infrastructure of high speed optical fiber from submarine cables (yellow lines), and network bridges / exit nodes on the Tor network that link the internet to the dark web (red rays). The sampled data, the infrastructure data, and the dark web data are rendered onto the globe with a Cahill-Keyes projection.
On September 1, 2018, the United States Department of State banned Defense Distributed, a company in Texas, from the distributing files for the first 3D printed gun, the Liberator. These files immediately re-appeared on the dark web, on private download sites, attached as messages sent on phones, on peer-to-peer networks, and other networks all over the world. Since then, schematics for additional weapons have circulated, including AR-15, AK-47, Glock 17, and accessories such as large capacity magazines and bump fire gadgets. On the day of the ban, computers using custom software started sampling the internet to collect any data on users sharing these files, sampling peer-to-peer traffic to construct a sixteen-month history of network locations. The sampling effort, and the attempts to visualize this flow of virtual weaponry, continue into the present.