eaeuebebeBebBeuUuUeHeHeB Bee ESY

MF: In National Heritage and Colour Separation there is a repeated motif of the mask - stereotyped racial features that it
seems are literally sewn onto people's heads...

MJ: | believe the mask to be one of the most defining aspect of the whole project in more ways than one; the mask repre-
sent the mask that | always have to wear at the point of entry into Britain, it represent the mask that | wear repeatedly as |
go about my everyday activities in this lovely multicultural state.

ind then it also represent the mask that mongrel has to wear in sourcing resources for the project. So you see the whole
National Heritage project is a constitution of the mask.

MF: Another mask Mongrel uses is a reversioned copy of the government Department of National Heritage crest on most of
its projects. Why? A recuperation of the state?

H: When we started the project the government department that handed out the cash for the arts was called the department
of national heritage. This department gave 76% of it's money to class A and B as defined by another government depart-
ment. We decided we wanted to make this Government department complicit with the making of the images. What's im-
portant about this point is the relation between the British State's Cultural Elitism and who is paying for it. The top two col-
lections of art in the UK are bought from slavery money, the Tate and the National Gallery. Not only this but the site that the
Tate gallery is on was a prison for transporting white slaves or bondsman to Australia and the Southern states of America.
If we have to articulate these images then the arts industry should acknowledge their own complicity with them also.

MJ: | believe the crest to be a celebration of the diverse British ethnicity after all who are the Brits if not a group of fuck-
ing mongrels. You need not go further than Byju's Aryan nation construction (http://wwww.mongrel.org.uk/Byju) for what is
‘truly’ British, though much undetected by most.

Matthew Fuller worked with Harwood to produce the Natural Selection project for Mongrel and also worked on the Colour
Separation paper with them. Along with Mervin Jarman of lanimedia and several others he is a regular collaborator with
the core Mongrel group: Harwood, Richard Pierre-Davis and Matsuko Yokokoji. This interview was put together via email
over a week in early February.

INSULAR TECHNOLOGIES
A CIVIL TACTICAL RESPONSE
TO SIGNIT COMMUNITIES

ueyfiag oeW

In the past four years we have been accustomed to receive information on the extent of global signit work that has actual-
ly been going on without the knowledge of civil populations, communications infrastructure users and developers and in
many cases even governments. A very quiet debate has started around issues arising from the knowledge about the ECHE-
LON system, which has now spread also into mainstream politics, and we should be very careful observers of this process-
es. One should also be aware of the fact, that possible “sister” systems exist in the EU countries, Russia, France and China,
although not much is known about them, except what can be gathered from each countries encryption regulations, which