be prepared! tiger!
The power of an army is determined by its ability to deceive. (Sun
Invisibility is a form of power. It has to become visible in order
to assure itself of its existence. Only by revealing its secret
can invisibility affirm its authority. It can only unfold its authority
over those who know about its secret.1 The fact that this secret
still remains encrypted is part of invisibility's paradoxical existence.
"Dream of a magic hat for invisibility - soon a reality?", was the
headline of an Austrian press release in August 2006.2 Again the
hope is alive that scientists might have found a way to compete
with the mythical ancestors of that dream. Siegfried succeeded over
Alberich, the guardian of the hoard of the Nibelungen, by stealing
his magic hood. Much earlier, the Cyclops made a perfectly fitting
magic helmet for the god Hades that rendered him invisible and allowed
him to stand by Zeus in the fight against the Titans. Another magic
hood is mentioned with regard to Perseus who received it from the
Nymphs on his way to the Gorgon Meduse. Or, to put it more precisely:
Perseus stole the information necessary for this theft by means
of an aggressive spying technique from the Graias who he had cheated
There is no fight without self-aggrandisement, no weapon, however
highly sophisticated, without psychological mystification. Weapons
are not only tools of destruction, but also tools of perception.
The video of a small Tamil Tiger guerilla unit, placed on the internet,
continues this mythological story. They also decide to make their
secret visible in order to affirm the power of their invisibility.
The project of Knowbotic Research and Peter Sandbichler begins with
the discovery of a piece of information in the grey zone of the
internet, difficult to verify: a short propaganda video by the Tamil
liberation army, recorded with simple filmic means and stored with
poor image resolution, which shows the glorification of a speedboat
that was supposedly financed by North Korea. The boat is deliberately
likened to the American F 117 stealth bomber, a myth of invisibility
Is the stealth boat a dummy? In order to test the truthfulness of
the vehicle's claim which, in this case, has clearly been staged
in a scenic jungle river environment for the purpose of the demonstration,
the artists decide on a complete reconstruction of the boat, as
well as a re-enactment of the scene. An extensive online diary documents
the preparatory dialogues, requests, research and collection of
materials concerning stealth technology. Knowbotic Research and
Sandbichler translate the Tamil version back into a 'stealth boat'
for local shipping that is barely visible on the sports boat radar.
The boat is tied up in the marina of the Duisburg inner-harbour
during an exhibition project, and with its simple electric motor
it is driven around from time to time for the passers-by to see.
At the same time, the boat has been put up for sale on the appropriate
internet sites (Boatshop24.com; Boot-24.com; Best-boats24.net).
The reconstruction works perfectly. Moreover, the perceptual paradox
becomes evident: the boat which can easily be seen with the naked
eye, remains invisible for the radar system installed on the nearby
Ludwigsturm. Here the work becomes highly political in that the
artistically engendered act of perception forces us to remember
the hideous claims that have been made on the basis of technological
images in order to justify recent political and military interventions
(like the start of the current Iraq war).
"be prepared! tiger!" represents the ruses and tactics used to escape
from the global positioning and surveillance technologies of the
21st century, yet it also stands for the problem of symbolic representations
which become more easily available and less controllable in the
course of increased local and global interchanges.
Part of the particular artistic quality of the projects by Knowbotic
Research is that they reveal chains of effects, interweave them
with multi-layered systems of communication, and analyse them in
all their facets. Knowbotic Research guide the motorised stealth
boat through their own maneuvers, moving it on water, on land, on
the internet, and as a projected image. We again see two men standing
upright in the boat, driving through the quiet waters of a flooded
marsh landscape (near Vienna!). Here the boat can barely be decoded
as a weapon, it looks more like an invention by Buckminster Fuller.
It is neither threatening nor camouflaged, but offers itself for
sale and exhibits its appropriated originality and sculptural character.
It is inscribed into contexts of economic utility and suggests different
civilian usages. The artists demonstrate the demystification of
the legendary stealth technology and its putative invincibility
which has to expose its secret in order to become effective.3 The
moment a stealth bomber kills, it becomes visible.
We can further extend the context in which to read the action, environment
and gestures. The true value of an image was once determined by
its mimetic function. At the same time, an image was truthful when
it was genuine. That is why in the era of representation, the original
always ruled over copies, imitations, reproductions and forgeries.
The deep historical rupture of new reproduction techniques started
a new era of artistic practice in which the attention has gradually
shifted from the mimetic reproduction of the object of representation,
to the reproduction of that which has been represented. Images no
longer copy reality, they copy images. Thus contemporary art has
established the strategy of the 'fake', which claims to be a 'forgery'
from the start and is thus liberated from claims of deception which
might be judicially persecuted.4 The work of Knowbotic Research
continues this tradition by presenting an artistic appropriation
of the military stealth technology, which immediately also exposes
itself as fake guerilla tactics. The truthful and the untruthful
have become invisible, and thus indistinguishable, in the public
sphere of the media.5 And in this specific case we can even suspect
that the re-enacted video image used by Knowbotic Research itself
shows a fake of a stealth boat which the artists have transformed
back into a functioning original.
While the earlier, network-based projects by Knowbotic Research
had concentrated on structures important to the networks, the more
recent works emphasise the aspect of transcoding in public spaces.
By 'transcoding', Knowbotic Research mean "the translation of abstract
social facts and conditions which are removed from the classical
public sphere, into situations that can temporarily be observed
and negotiated."6 The vehicles thus become instruments that can
be deployed in manifold ways. They embody a material, almost sculptural
translation, both experimenting with and disrupting their conceptual
contexts. They help Knowbotic Research achieve an oscillation between
'documentation art' and 'mediation art' ('Dokumentationskunst',
'Vermittlungskunst') in that the instruments also work as autonomous
aesthetic objects in a gallery exhibition. An element of this is
- like in the fake video - the filmic manifestations, the video
clips which have been produced with a professional camera man. They
are an active part of the specific translation processes of the
project, and not just their mere documentation. The setting of "be
prepared! tiger!" in Duisburg included not only the public space,
the marina, the tower with the radar system, video and sound projection,
and a large printed banner on a wall; it also included a slightly
removed second station in the Lehmbruck Museum with a video projection
of the re-enacted boat ride and the continuously running computer
chat with materials from the research archive. Knowbotic Research
thus achieved multi-layered and syntactical relationships between
the different elements and sites of the action.
The fact that the stealth boat has actually been constructed is
crucial for its demystification. By virtue of its construction,
it loses its secret and its belligerent power. And it comes as an
encouragement to the audience to imagine further applications and
manoeuvers for the boat. The work dissolves its initially mimetic
character and becomes exemplary. The magic cloak is no longer there
to camouflage, but rather to enchant.
Knowbotic Research and Sandbichler's construction turns out to be
an aesthetically elaborate object, a sculpture committed to the
proportions of the human body. It remains functional and can be
used for simple trips on water and also as a marketable good. However,
the fact that the entire complex structure is very obvious, makes
the boat rather suspicious. Which is perhaps why there have only
been very few offers to buy the boat, either from yachtsmen or from
The situation of the self-made-boat can thus be located in and beyond
the context of art. As a further step that might also be read as
the unexpected completion of a circle, an American website announces
the unusual find of a stranded 'stealth boat' in a parking lot which,
as another internet user remarks, seems to have been built years
ago by a knowledgeable amateur, and which found use as a movie prop.7
1 Cf. VERWOERT, Jan (2005): Da ist es. Siehst du
es nicht? Da ist es doch. Über die Hellsichtigkeit der Paranoia.
In: KORPYS/LÖFFLER (2005) Organisation 1990 - 2005 Frankfurt am
Main, Revolver Verlag, p.156-189.
3 Two fundamental problems of the technology: in order to remain
camouflaged, the stealth bombers have to carry their weapons internally,
which reduces the maximum weapon load. As soon as the stealth bomber
opens the hatch to fire its weapons, it creates an increased radar
echo and can more easily be traced.
4 RÖMER, Stefan (2001): Künstlerische Strategien des Fake. Kritik
von Original und Fälschung. Köln.
5 Cf. SCHMIDT, Sabine Maria (2006): Designing Truth - Streifzüge
durch ein unwegsames Gebiet. In: Cat. "Designing Truth." Stiftung
Wilhelm Lehmbruck Museum, Duisburg, p. 8-15, and on the project
by Knowbotic Research, p. 46-51.
6 Cf. KNOWBOTIC RESEARCH: Room for Manoeuvre, in this volume.