[mgj-discuss] NY Times: anti-WEF computers probed for vulnerabilities

[David Levy]

"Viewers are prompted to scan the computer ports of organizations that
protested in February against the World Economic Forum (news - web sites).
While colored lights flash, a list of the vulnerable ports and the methods
that might be employed to "crack," or penetrate, them to gain access to
private information scrolls across the bottom of the screen. No internal
information is exposed, but the threat is suggested."

Museum's Cyberpeeping Artwork Has Its Plug Pulled 
Mon May 13, 8:57 AM ET 
By MATTHEW MIRAPAUL The New York Times 

An Internet-based artwork in an exhibition at the New Museum of
Contemporary Art was taken offline on Friday because the work was
conducting surveillance of outside computers. It is not clear yet who is
responsible for the blacking out the artists, the museum or its Internet
service provider but the action illuminates the work's central theme: the
tension between public and private control of the Internet. The shutdown
also shows how cyberspace's gray areas can enshroud museums as they
embrace the evolving medium. 


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The work in question is "Minds of Concern: Breaking News," created by
Knowbotic Research, a group of digital artists in Switzerland. The piece
is part of "Open Source Art Hack," an exhibition at the New Museum that
runs through June 30. The work can be viewed as an installation in the
museum's SoHo galleries or online at newmuseum.org. Although the
installation is still in place, and the work's Web site remains live, the
port-scanning software that is its central feature was disabled Friday
evening and was inactive yesterday afternoon.

Port scanning sounds like a cruise-ship captain's task. The term actually
refers to a technique for surveying how other computers are connected to
the Internet. The software essentially strolls through the neighborhood in
search of windows that have been left open. Merely noticing where they are
is no crime. Things get dicier, though, if what is seen is conveyed to a
ne'er-do-well relative, who then breaks in somewhere, rearranges the
furniture and makes off with a gem-encrusted putter.

One court has ruled that port scanning is legal so long as it does not
intrude upon or damage the computers that are being scanned. Internet
service providers, however, generally prohibit the practice, which can
cause online traffic jams. That prohibition appears to be what led to the
shutdown.

After the Knowbotic work started its peeping, the Internet service
provider for one of the targets of the scan complained to the museum's
Internet service provider, Logicworks. In turn, Logicworks notified the
museum that port scanning violated its policies. On Friday, Lauren Tehan,
a museum spokeswoman, said the museum was seeking a creative technical
solution to keep the work online.

That effort did not succeed. Ms. Tehan said the museum, at Logicworks'
request, shut down the work after the museum closed on Friday evening. On
Saturday morning, Christian Hübler of Knowbotic Research said the group
realized the port-scanning software had been disabled and decided to move
the work's Web site to an Internet service provider in Germany. Ms. Tehan
said that the museum suggested a way to put the work back online but that
Knowbotic rejected the proposal.

The dispute calls attention to one of the very points the piece is
intended to make. Because the lines between public and private control of
the Internet are not yet clearly defined, what artists want to do may be
perfectly legal, but that does not mean they will be allowed do it.

Before the New Museum exhibition opened on May 3, Knowbotic Research had
already decided to remove the most troublesome features of the
port-scanning software. Mr. Hübler said the group changed the work after
consulting with a lawyer who specializes in Internet law. "I wanted to
know the situation I'm in," Mr. Hübler said, "because when I work with the
border as an artist, I want to know at least what the border might be."

When it is functioning, "Minds of Concern" resembles a slot machine.
Viewers are prompted to scan the computer ports of organizations that
protested in February against the World Economic Forum (news - web sites).
While colored lights flash, a list of the vulnerable ports and the methods
that might be employed to "crack," or penetrate, them to gain access to
private information scrolls across the bottom of the screen. No internal
information is exposed, but the threat is suggested.

European digital artists are more politicized than their American
counterparts, and "Minds" is designed to advance a social agenda. By
choosing to explore the computers of anti-globalization groups instead of
Nike or Coca-Cola, Knowbotic is warning those groups that they are at risk
of losing sensitive data.

But to present the work at the New Museum, Knowbotic had to defang it. At
first, the group reviewed the 800 tools in the port-scanning program and
removed 200 it deemed intrusive or malicious. After consulting with a
lawyer, the group then encrypted the name of the organization being
scanned because it was unsure if publishing the information was illegal.
In place of the name on the screen, one saw the phrase "artistic
self-censorship."

The group's disappointment in having to scale back the work was obvious in
a message to an electronic mailing list: "Due to the ubiquitous paranoia
and threat of getting sued, the museum and the curators made it very clear
to us that we as artists are 100 percent alone and private in any legal
dispute."

There is a sense of a missed opportunity here. The dozen works in "Open
Source Art Hack" are intended to prompt discussion about the public versus
the private in cyberspace while demonstrating how artists "hack," or
misuse technology, to creative effect. Port-scanning software, for
instance, is meant to be used for reconnaissance, yet Knowbotic has made
it a political tool.

But "Minds of Concern" is also the only online work in the exhibition to
operate in a legal gray area. In its fully functional state, it had the
potential to cause a ruckus that might have yielded some black-and-white
rulings. But instead, the exhibition commits no real transgressions.

Steve Dietz, the new-media curator at the Walker Art Center in
Minneapolis, was one of the exhibition's curators. Its goal, he said, "was
more nuanced than bringing cracking to the dull havens of a museum."

"Being bad and doing something illegal hold very little interest for me,"
he said, "but being tactical and creative hold a great deal.`

Artists like to be bad, and although museums are sometimes their targets,
they can also serve as shields when artists become controversial. A recent
example was the exhibition "Mirroring Evil: Nazi Imagery/Recent Art," for
which the Jewish Museum, not the participating artists, took most of the
heat.

As museums embrace cyberspace, its fuzzy rules are posing unfamiliar
problems, and "Minds of Concern: Breaking News" is a case in point. As for
how well those issues can be raised within a museum's walls, Lisa
Phillips, director of the New Museum, said: "That really is the dilemma.
We can only go so far."


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