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This artist gave out all his login details and passwords to the public. Here's why

Conceptual artist Mark Farid believes our online privacy is the only right we have left – and that’s why governments and companies are so keen to take it from us.

Can you ever really escape your digital identity?

Mark Farid thinks so. On Monday night, at a panel discussion of digital privacy hosted by the University of Cambridge's Festival of Ideas, Farid handed out a stack of A4 pieces of paper to a befuddled audience. Typed out on each were his login details. All of them. All five email addresses. Facebook, LinkedIn, Skype, Amazon, Apple ID.

Even if he'd missed a password out, we'd be pretty safe in the assumption it was something to do with Leicester or The Strokes:

After a moment of shock, the audience, me included, busied ourselves on our phones. One man raised his hand to announce that he'd already logged into Farid's Facebook page and changed the password. Within minutes, his Hotmail password was changed, too. I managed to log into LinkedIn, and wondered what to do next. Endorse someone's skills? Send off a scattershot round of connection requests?

From this moment until next April, Farid will try to live without a digital footprint: he will use only pay as you go phones with little or no internet connectivity ("I want a flip phone") and Oyster cards, and will create dedicated email accounts for anything he needs to do online. As far as possible, he hopes to be untrackable. 

 * * *

Farid and I spoke last week about a different, far less personal project, out of which the password stunt grew: Data Shadow. Data Shadow is basically a shipping container, sitting in a Cambridge garden outside the room where we're watching Farid commit privacy kamikaze.

Visitors step inside the container, and meet one of several scenarios, depending on which parts of the technology are working. Farid's favourite runs thus: once inside, your phone automatically connects to a wifi network, which poses as your phone provider. It pulls out your name and recently visited locations and projects them on the wall. At the same time, two more projectors beam outlines of your body on to the walls. One is filled with recent text messages; the other with your photos. “The algorithm is trained to pick up flesh tones,” Farid tells me. “We’re trying to find the most embarrassing pictures we can.” 

You're then asked to make a phone call to someone. As you do, another phone outside the container starts to ring. If a passerby picks up, they can join in on - or simly listen to - your conversation. When the door of the container shuts behind you, your data is wiped from the system, and you receive a text explaining what just happened. 

The project, funded jointly by technology agency Collusion, Cambridge University, The Technology Partnership and Arts Council England, cost £30,000. Only a small portion of this was spent on the technology it takes to hack into a phone. 

Before the talk, Farid and I visit the container, and he hacks into his phone and shows me his own data shadow. As the body-shaped messages and photos flicker around me, I ask Farid if he’s nervous that he’s about to hand over his online identity to the public. Almost no one knows what he’s planning – not even his housemates. “To be honest, I’ve been too stressed to be nervous,” he says. He has deleted emails containing sensitive information sent to him by others, but everything on his Facebook, for example, is still there. We’ll be able to look through his messages, friends, history, photos, and texts.

Farid tells me he's taken out three types of insurance against whatever we, the audience, might try to do with his social media. But there's no insurance against friends and family getting angry about the indirect access the public will have to their life too; the pictures and messages we'll all be able to see. "No, I suppose not." 

* * * 

The seed for these artworks was planted when Farid stopped getting stopped in airports. On a school trip to New York aged 15, Farid was held back at border control for over an hour. "They basically asked whether I was a terrorist - 'do you have any firearms', 'do you play with explosives'." 

Over the next few years, something changed: Farid got social media. Now, he is never stopped. Part of the investigation he's carrying out by giving up his online identity is how this will affect the state's treatment of him - now they can no longer assume they know what he's doing, perhaps that level of suspicion will return.

Online surveillance gives those watching the sense that they know what we're up to. Employers may find questionable pictures or posts on your social media, but they'd be even more concerned if they couldn't find you at all. In 2012 German newspaper Der Taggspiegel, pointed out that neither James Holmes (the murderer of 12 in a Colorado cinema) nor Anders Behring Breivik had Facebook profiles. A lack of online presence is, in a word, suspicious. 

* * *

At the talk, Farid explains to the audience that big companies want us to relinquish our privacy, and that this is incredibly dangerous. “Privacy is the most important thing we have. Without it, you can’t do anything. You start to self- censor.” In the US, he tells us, the courts have ruled that the fourth Amendment - the right to privacy - does not apply to non-US citizens. The US can (and does) monitor an endless list of groups and individuals without warrants, including Angela Merkel and Amnesty International. 

During the panel discussion, two examples come up which seem to outline our contradictory approach to privacy. One audience member raises something called the “chat room paradox”, which was first raised in 2007 in the early days of forums and social media: if your child enters a chat room, you want them to be totally anonymous, yet at the same time, you want to know everything about the identities of the other people in that chat room. 

Then there's the fact that discussions of privacy and state surveillance often come down to the phrase "I've got nothing to hide". We assume that only criminals would want privacy from the state. Yet as Daniel Thomas, a researcher at the University of Cambridge, points out, it's no coincidence that Germans are far more cautious about giving up their privacy than we are. "They know - they remember - that the state is willing to collect your underwear to keep in jars in case they needed to train dogs to chase you”. (Ironically, German authorities used this tactic again to track down violent protesters at 2007's G8 summit). In a basic sense, these "odour jars" were collections of "data" used by the state to track individuals. In Soviet-run East Germany, individuals were encouraged to spy on their neighbours. If that state existed now, it wouldn’t need them to.

As a demonstration of this, Farid asks the audience to go onto our location settings on our iPhones or Androids, and see whether our phone has been tracking our locations. I was under the impression I'd switched my location services off, but no such luck:

(To check yours on an iPhone, go to settings - > privacy - > location services - > system services, right at the bottom of the page.)

As it stands, we give up our data in exchange for the convenience free online services and our smartphones give us. "But what happens if you subvert this situation?" Farid asks us, gathering up the stack of papers containing his passwords and preparing to hand them out. "What happens if you give it all up?" 

Earlier, I asked Farid why he decided to take the project to such a personal extreme. “What we’re trying to do with Data Shadow is show that this could have been you. Your data could be mined by anyone. People need to start taking responsibility for that.”  

* * *

As I walk back to Cambridge train station, I open Google Maps. "Google Maps neeeds permission to show your location on the map. Turn on location services to navigate." I hesitate, still holding Farid's list of passwords. Eventually, I turn it back on. 

Barbara Speed is comment editor at the i, and was technology and digital culture writer at the New Statesman, and a staff writer at CityMetric.

This article first appeared in the 29 October 2015 issue of the New Statesman, Israel: the Third Intifada?

Emma Moore as Ruth Ellis
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Rasping old cassettes bring new depth to a familiar true crime tale in BBC Four’s The Ruth Ellis Files

Plus, a BBC Two documentary about Brixton reggae producer Steve “Blacker Dread” Burnett-Martin.

I thought I knew the Ruth Ellis story inside out: when I was writing my book about women’s lives in the 1950s, her name came up so often – almost daily, it fell like a shadow over my desk – I finally had to give in and take a detour, reading everything about her that I could find, for all that she wasn’t part of my plan (if you’re interested too, and want a primer, I recommend A Fine Day for a Hanging by Carol Ann Lee). But perhaps I was wrong. Perhaps I didn’t really know anything at all, for I never once felt even half so haunted in the British Library as I did the other night in the moments after I finished watching Gillian Pachter’s three-part documentary series, The Ruth Ellis Files: A Very British Crime Story (13-15 March, 9pm).

It wasn’t that Pachter, an American filmmaker who specialises in true crime, had vast quantities of new information; the thrust of her investigation had to do with the part played by Ellis’s other lover, Desmond Cussen, in the murder of David Blakely, the crime for which she alone was hanged on the morning of 13 July, 1955, at Holloway Prison, north London. Pachter suggested, like others before her, that Cussen provided Ellis with the gun with which she shot her violent boyfriend, and that he should therefore have been tried as an accessory.

Nor were her long-winded films, so deeply in love with their own processes, without their irritations, from the tonally jarring film clips she insisted on using to illustrate situations for which she had no images, to her bizarre and utterly pointless desire to recreate the pathetic last bedsit of Ellis’s son, Andre Hornby, who committed suicide in 1982, aged 37. Faced with certain expert “witnesses”, among them a couple of retired coppers who couldn’t have been loving their moment in the sun more if they’d been slicked with Ambre Solaire, Pachter was never anything less than wide-eyed and credulous.

What she did have, though, were some rasping old cassettes, the complicated provenance of which would take far too long to describe here. And so it was that we heard the voices of Cussen and Ellis discussing Blakely; of Hornby gently interrogating Christmas Humphreys, the counsel for the prosecution at his mother’s trial, whom he tracked down in the months before his suicide; and even of Blakely, loudly toasting the company at a party. She made maximum use of these tapes, playing them repeatedly, and it wasn’t hard to see why; if the words sometimes meant relatively little (“he’s just a little drip… a cheapskate… a skunk…” Ellis said of Blakely, perhaps only telling Cussen what he wanted to hear), the voices nevertheless spoke volumes, whole worlds conjured up in their strangulated vowels, their urgent hesitations.

Here was Ellis, a working-class woman, speaking in a painful, put-on RP. Here was Hornby, his life utterly destroyed by his mother killing the man who was then the closest thing he had to a father, trying desperately hard not to sound mad (“she lived on the borderlines of insanity,” he said of Ellis, possibly unaware that it takes one to know one). And here was Blakely, so obliviously chipper, his voice all dry gin and privilege. Ellis’s story has always reeked of Raymond Chandler: the racing driver lover, his floppy-haired beauty destroyed by bullets; that blonde hair, which she determinedly bleached again in prison ahead of her trial. Hearing them, though, all that fell away. What messes and muddles people get into. What calamities hit them, head on, like meteorites.

After a ten-year absence, Molly Dineen has returned with a documentary about Steve “Blacker Dread” Burnett-Martin (12 March, 9pm), a Brixton reggae producer. Three years in the making, it included some remarkable events in the life of this local celebrity, among them his conviction for money laundering; Dread’s dreads, uncut since he was 14, now reach to his feet and deserve a film of their own. But though I admired its intimacy, the warm and effective way Dineen mined his universe, in the end there was something self-indulgent about it, too. Like Blacker’s barber, her editor was, alas, seemingly surplus to requirements. 

The Ruth Ellis Files (BBC Four)
Being Blacker (BBC Two)

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 13 March 2018 issue of the New Statesman, Putin’s spy game