The Restart Project Podcast

This week, we talk about two kinds of risk: one environmental, and one technical. From Citizen Science projects to community-run operating systems, we examine how we can have more of a say in how to keep ourselves safe. The Fukushima-Daiichi nuclear power plant, destroyed by the dual earthquake-tsunami disaster of 2011, continues to leak dangerous levels of nuclear radiation. In the aftermath of the catastrophe, citizens quickly noted the absence of localized data that would signify if their environment was safe. The global supply of geiger counters, which give readings of radiation levels, sold out in twenty-four hours. So a group of people decided to take the issue into their own hands, designing a kit with open-source software that anyone in the world could replicate: the project was called 'Safecast'. Today, Safecast has surpassed all previous data-sets about environmental radiation combined. Because it exists in the public domain, it is used as a trusted source by reporters, academics, nuclear governing bodies, and even state governments. The 'bgeigie' is designed to be easy for anyone to assemble: all you need is a few hours to spare and a soldering iron. Users can buy the parts online from the Safecast website, or source them themselves, using the freely available instructions and software package. Born out of hackerspace culture, the lifeblood of Safecast is it's community of volunteers and users. Online platforms allow them to share tips on assembly, repair and maintenance of the 'bgeigies'. And unlike with other event-related technologies, where the hype dissolves and leaves behind thousands of disused devices, the fact that users have built the device themselves means a much higher rate of usage. We tend to care more for the things we make ourselves. Excess nuclear radiation may not currently be a huge problem in London, but citizen science technologies can be used for a huge range of environmental risks. 'Plumelabs' are working on a piece of hardware paired with mobiles that enables citizens to become part of a local, dynamic air pollution sensor network. Finally, we talk about the scariest tech news of the week: the Wcry ransomware attack that brought NHS trusts and hospitals to a halt all across the UK. The story of how the attack came to happen is a complex combination of economic, political and technical factors, which points to serious problems in the way that these systems currently function. We talk about how average computer users can protect themselves from ransomware, as well as the obligations that governments and corporations have to protect the infrastructure that keeps our societies running.

Janet and Neil are joined by Jim Boulton, ‘digital archaeologist’ and curator of the exhibition 64 Bits, a project that chronicles the history of the World Wide Web. Looking back at our recent visit to 64 Bits at HereEast in Stratford, we talk about some of the things that stood out both for their nostalgic value, and what they can tell us about our experience of the web today. Featuring 32 computers and 32 artwork (a total of 64 ‘Bits’), Jim’s exhibition features Tim Berners-Lee’s first ever website, displayed on the browser and NeXT computer used to code it. From there on, each website through 2005 is paired with a computer that matches it historically. For younger viewers in particular, the earlier examples may seem strange, distant and primitive. For those of us who remember these developments, it can be oddly comforting. Jim talks about the thinking that led to the inception of 64 Bits: a 2002 exhibition at the Barbican called ‘Game On’ showcased the speed at which video games had developed. But nothing similar yet existed for websites, despite the fact that they had evolved at an even faster rate. The sheer speed of the development of the web is what stands out at 64 Bits. And just as the internet has not stopped evolving, neither has the exhibition. In each of its iterations since it was first displayed in 2010, 64 Bits has grown in size. It remains a living, embodied archive. From Jim's style of digital archaeology, we have more to gain than a mere whimsical look back into the past. As computers get more powerful, the layers of code within them become less and less visible, and the multitude of components they contain become more compact. Understanding the evolution of hardware and software helps us to imagine a more durable and lasting relationship with technology. In removing some of the mystery, we can understand computers and other gadgets as valuable objects that are inextricably intertwined with our evolution as a society.

Today we talk to Tad Vaas from TFix, a repair centre in South London that mixes corporate and consumer repairs with a very interesting twist. TFix performs professional soldering operations that require specialist knowledge and equipment. Tad and his team have developed a way to go deeper into the repair process than other repair shops, using a highly complicated soldering technology called BGA. BGA provides a physical as well as an electrical connection, which allows individual minute components to be replaced on the motherboard. TFix is comprised of three laboratories, one for consumer repairs, one for corporate repairs, and one for R&D. They are so good at what they do that companies will actually come to them to rectify products after they have been released onto the market. At the research level, TFix are constantly working to identify trends in failures, and to develop new ways of addressing them. We talk to Tad about the problem with public perception of repair businesses, and how repair companies might attract a trusting client base by making sure they reach standards of professionalism. We also talk about learning repair, which for Tad has been a very hands-on process of trial and error. TFix see themselves as pioneers in the repair industry, using experimentation and creativity to not just fix products, but to actively improve designs that fail. Their work is underpinned by an ethos of waste reduction that resonates with all of us here at the Restart Project.

Most people think of electronics and gardening as two very distinct hobbies, belonging to two very different worlds. But there are some striking similarities. Today we are joined by Lou and Ed from Friche: an art and design studio working towards eco-structures for urban spaces, and our neighbours in our workspace in Bermondsey. Lou and Ed encourage us to re-think the arbitrary distinction we draw between ‘natural’ and ‘manmade’ environments, and to learn to see the resources and materials we use as a connection between the two. Drawing attention to the processes of growing, they create indoor and outdoor green spaces that are co-designed with communities to suit their needs. We talk about how these ideas can be applied to the problem of e-waste. Many people forget that their phone contains many naturally-occurring minerals and materials, and the labour of manufacturing is just as invisible to us as the processes used to grow our food. At the Restart Project, we like to see ourselves a bit like ‘permaculture for electronics’. There is another fascinating parallel between the worlds of the Gardener and that of the electronic Tinkerer. Ed and Lou explain the ways in which tree roots can actually communicate with each other along fungal networks called Mycelium, which function a bit like cables. Trees can pass nutrients through these networks to smaller sapling plants that cannot reach the sunlight, and send chemical signals a bit like we might send an instant message. Finally, Lou and Ed talk us through the processes and equipment of hydroponics. From electric toothbrushes to large-scale LED-lit greenhouses, growing today is inextricably linked to technology. The idea that natural and built environments exist in separate spheres is well and truly out of date.

Shenzhen, China is home to over 4,000 product design firms and has been labelled the ‘city of design’. But does this create opportunities for more sustainable, open and modular gadgets, or it perpetuating a culture of cheap and disposable production? Today we talk to David Li, founder of Shenzhen Open Innovation Lab, and he provokes us to rethink and update our notions of manufacture in China. Here in the UK, many people have a perception of Chinese manufacturing as cutting corners, underpaying workers, and producing cheap, low-quality items. But this ignores the economic structures that govern production - and our role in them. Reconfiguring the manufacturing landscape requires international collaboration; and we may have a thing or two to learn from makers in Shenzhen. The Open Innovation Lab was set up in 2015, and has worked to set up links between Chinese and global makers. Built on the concept of ‘manufacture as service’, Open Innovation Lab believes that factories are neutral spaces that can be pushed into more sustainable production by the demands of customers. Rather than trying to shift production back into small workshops, makers in Shenzhen are finding new ways of working with manufacturers. David also talks to us about how smaller entrepreneurial makers and designers can work together to challenge the dominance of big companies. Rather than reconfiguring the entire industry in one go, progress is sometimes incremental. David is optimistic that modular design is getting a lot of international attention. Now it is time to turn ideas into reality, which – he acknowledges – is the hardest part. But if David is right about the customer being the ‘brain’ of the factory, then it is up to us to decide what kind of values we want to see embodied in the stuff that gets made. Later this year, we will feature a follow-up to this provocative chat, with London-based makers and designers. Watch this space!

Today we talk to Simon November from Test-Achats (Test-Aankoop) in Belgium, an association that uses crowdsourcing to identify ‘hot-spots’ of consumer frustration and investigate the gadgets that keep breaking. Test-Achats has been defending the interests of consumers in Belgium since 1957, and is entirely funded by its 350,000 members. But you don’t need to be a member to participate in the project called ‘Trop Vite Usé’ – or ‘worn out too soon’. The website, set up in November last year, lets anyone lodge a complaint about a device, and has received more than 5,000 contributions concerning all kinds of items. The idea is that Test Achat investigates the gadgets that receive the most complaints. What the association really hopes to uncover is ‘planned obsolescence’ – the idea that gadgets are designed to break. But this can be hard to prove, so another aim is to just reveal early obsolescence, and put pressure on manufacturers to make products with a longer lifespan. At our own Restart Parties, we’ve seen similar patterns with ‘hot spots’ of gadget failure emerging. We talk to Simon about how best to harness ‘the crowd’ in these kinds of projects, how to turn frustration into productive action, and how to speed up cycles of response form the manufacturer. We also talk about perceived obsolescence, particularly with gadgets that are seemingly ‘too slow’. As well as pushing for better-made gadgets, we need to learn how to handle the ones we own.

After the demise of the repair shops on Tottenham Court Road, London’s repair businesses took a blow. But a visit to Stratford Computer Fair reveals that face-to-face electronic repair and sales are not yet things of the past. The closure of shops on Tottenham Court Road, and the disappearance of the computer fair hosted by the UCL Student Union in Bloomsbury, was preceded by a slow but steady demise. Brick-and-mortar businesses disappeared as online competitors snapped up more and more of their customers. In many ways, the Internet has made it easier to source parts and find repair information. But it has major drawbacks. It is often very difficult to identify the right part, and with difficult repairs, YouTube videos are often simply not enough. This week we visit Stratford Computer Fair, a weekly meeting point for traders and customers where they can pitch their services and do repair onsite. We talk to several traders, old and young, about the history and the future of the fair, and hear some interesting opinions about the role of the Internet in the changing landscape of London’s repair economy. It is clear that there is real value in face-to-face contact. More difficult to assess is when it is right to try DIY repair, and when should you consult a professional. Along with this question, we ask how repair people can involve their customers more in the process.

Today we head to the US, where a group of high school students and teachers talk to us about an exciting project that began as just a pop-up stall in a library. We first met Jeannie at Mozilla festival in London. When she returned to the US, Jeannie combined some of the Restart ethos with her own work. With the help of students like Daniel at Fieldston school, she set up a student-repair tutoring centre. From its humble origins – a table in the library with a handmade sign – the Restart centre grew to involve more and more of the student body. Jeannie and Daniel tell us one day when they set up shop in a field where students were invited to come and repair a stack of 40 chrome books. They are careful to stress that the centre is not simply a free repair service. Students can book slots in free class periods to fix a broken gadget with the help of a student Restarter. Daniel explains that the goal is to transfer as much knowledge as possible, while getting more and more students excited about the possibility of learning to perform repair themselves. Since Fieldston’s success, a number of other schools have picked up on the idea of a Restart Centre. It’s a promising prospect, and everyone wins: kids leave high-school with skills that can kickstart their professional lives, or with a growing environmental consciousness, or with simply a new hobby. And hundreds of gadgets are saved from the dustbin each year. It seems high schools could be the key to expanding the Restart community.

Those who make it behind the Genius Bar are under legal obligation to not disclose information about Apple. Today, joined by Restarter David Méry, we investigate the tech giant's attitude to post-sales service with the help of some anonymous ex-Geniuses and online forum Reddit. The Genius Bar has evolved over time, transforming from an actual bar to the newly devised 'grove', which is to feature live trees. The name 'Genius', however, has stuck around. We challenge the binary that this creates between those who do repair, and those who cannot. In relation to phones, Apple has always had a culture that appears to discourage DIY repair, and frequently third-party repair. So how does Apple manage to sustain such satisfaction with its service? With the help of Reddit forums, we discuss the idea of 'magic moments' at Genius Bars. And with recruitment emphasising social skills over expertise, it seems that the role of 'Genius' to provide more of a customer-company interface than an on-the-spot repair service. As an Apple customer, it is important to do your research and know your rights. A little more transparency around Apple's repair culture will help people get the most out of their purchased items. The Genius Bar has evolved over time, transforming from an actual bar to the newly devised 'grove', which is to feature live trees. The name 'Genius', however, has stuck around. We challenge the binary that this creates between those who do repair, and those who cannot. In relation to phones, Apple has always had a culture that appears to discourage DIY repair, and frequently third-party repair. So how does Apple manage to sustain such satisfaction with its service? With the help of Reddit forums, we discuss the idea of 'magic moments' at Genius Bars. And with recruitment emphasising social skills over expertise, it seems that the role of 'Genius' to provide more of a customer-company interface than an on-the-spot repair service. As an Apple customer, it is important to do your research and know your rights. A little more transparency around Apple's repair culture will help people get the most out of their purchased items.

On the 14th of March, International ‘Pi Day’, Ugo is joined by Restart volunteer Ben Skidmore and Raspberry Pi Creator Eben Upton. The Raspberry Pi (which actually takes its name from the programming language 'Python') is a tiny and affordable computer that teaches programming to children and adults. It is designed to function as the ‘missing piece’ that connects otherwise obsolete components: old keyboards, old chargers, and old television sets, turning the whole set-up into a functioning computer. And with Raspberry Pis priced from £5 to £30, you are unlikely to find a cheaper option. We ask Eben about the ethos behind the software design of the Pi, which is built to be compatible with a wide range of hardware. With a reasonable lifespan and small build, it aims to minimize weight added to the e-waste mountain. He talks to us about his favourite reuse projects empowered by the Pi, from upgrading older cars to analog televisions that become workable computers, and about the potential it holds for increasing access to technology in developing regions. Ben is an engineering student, and has his own experience with the Pi, which he plans eventually to turn into an arcade machine that will reproduce his favourite games from childhood. He sheds some light on the repair process of the Pi, which usually requires only some basic soldering. This move towards more modular design, in which separate parts can be more easily replaced, is an important step in creating more sustainable gadgets. Ben is optimistic. As repair becomes more viable, people will become keener to learn. And with projects like the Raspberry Pi attracting a large user base, access to support is becoming easier than ever.

When we grow up, we buy things for sensible reasons, and don’t lose get bored or lose interest with our ‘toys’… or so the story goes. But recent fads for personal mobility devices would suggest otherwise. This week, Ugo is joined by Restart volunteer and IT team leader Dave Lukes, and our new Community Lead Jon Stricklin-Coutinho to take a look at some of these toys for big kids: the hoverboard, or the so-called two wheeled ‘unicycle’. In the holiday season of 2015, the hoverboard looked as though it was going to be the ‘next big thing’. But as we see time and time again, the race-to-the-bottom that happens with the cost of such gadgets does not lead to the most durable or the most useful equipment. The hoverboard met many hurdles during its brief period of fame. There are very few places it can be used legally. And when you do manage to get it on the road, you face the prospect of potentially explosive lithium ion batteries. The usefulness of devices like the hoverboard is highly questionable, and relatively low prices mean that for some, it is a potential impulse buy. This potentially means a lot of new electronic material ending up in landfill. So where does the hype come from? These kinds of devices seem to appeal to an inner childhood self, with the promise of novelty and fun. But when your toy requires very little skill and almost no physical exertion, it very quickly becomes a bore. Of course, we cannot dismiss all personal mobility devices as useless. We take a look at some of the more useful potential applications of the technology used by the hoverboard, as well as some alternatives, like the electrically-assisted bicycle. As with most technology, everything depends on how we use it.

In this episode, we explore the qualities in our gadgets that are aimed at a particular gender. Whether it’s as obvious as a pink diamante-studded telephone, or as subtle as a smartphone screen that is slightly too large to fit in the average female hand, these biases are all around us. We looked for written commentary on how interlinked aspects of sex and gender played out in the history of design and ergonomics, as it gets quite complicated. We were surprised to come up short. After we put out a call for listeners to participate in our live twitter chat, we received a big response. It is clearly an issue that resonates with a lot of people. If we want to fix our relationship with our gadgets, this is a problem that we urgently need to address. We talk to a variety of men and women about their experiences with gender and technology. Alexandra Deschamps-Sonsino talks to us about the history of gender-bias in kitchens and more, and some of our Restart volunteers offer their own opinions. More broadly speaking, inclusivity is something that needs to be addressed in the world of technological design. Of course, it is impossible to design a single gadget that is going to be perfectly suited to everybody’s needs. But we need to be more aware of how to distinguish between genuine differences in needs, and artificial norms. This is a difficult area to navigate, but it is what drives our experience of technology from day to day. Technological gadgets, like people, are not always neutral.

Our devices talk to us all the time. It is easy to forget that these blips, bleeps and bloops are not merely generated by the things themselves: they are designed by people. Today we talk to one of these people: Dougie Brown from Cassini Sound, a team of composers, sound designers and recordists who design sounds for film and television – and for the Restart Project! Dougie help make our music, remaking source material from Opto Noise. Dougie and his team do not feel that they must constantly be working with cutting edge equipment. In fact, often it is the older equipment, even the broken stuff, which gives the most interesting sounds. If we want to foster a better relationship with our gadgets, part of this relationship is about understanding how they communicate with us. We take a look at how sounds can trigger a certain emotional reaction in the user, including our least favourite ‘punishment’ sounds - the sonic equivalent of a slap on the wrist – including the Apple ‘Sosumi’, and the Windows 98 ‘error’ sound. But there are other sounds that give us that warm, fuzzy and sometimes nostalgic feeling. Dougie shares some of his favourites, some positive memories and some more current: the start-up sounds of the Mac OS, Windows 95 start-up sound (crafted by Brian Eno), a PlayStation, and TiVo. Finally, we turn an ear to the future, taking a look at what sound design might have in store for the world of VR.

This week, Ugo is joined by Lawrence Carey, one of the founders of the Whitegoods Trade Association. Lawrence sheds some light on the complex relationships that exist between consumers, manufacturers and third party repair businesses when it comes to the machines we rely on at home: dryers, dishwashers, washing machines. As we explored in our 2-part podcast on Steve the Spindoctor (here and here), independent repair businesses face some serious challenges. The Whitegoods Trade Association aims to give a voice to engineers who have become disillusioned with the industry. They have come up with their own code of practise – one that offers protection for consumers and repairers. Whitegoods sales are going up, but it seems quality is going down. For many, the most convenient solution to a faulty machine is to throw it away. Manufacturers tend to keep their technical information ‘in house’, which makes the job of Lawrence, Steve and others exceptionally difficult. Access to spare parts is limited, and sometimes even non-existent. Drawing on examples from Sweden and France, Ugo and Lawrence discuss ways in which more available data, parts and a system that favours the repair economy could lead to greater sustainability in the White Goods Sector.

Virtual Reality (VR) has been heralded as ‘the next big thing’ for a couple of years now. But its relatively slow start has people asking questions about how ‘big’ it will really be. This week, we investigate ways in which consumer VR might feed into our throwaway economy, or alternatively, ways in which VR might help us imagine more sustainable futures. We take a look at the three main higher-end models currently on the market, as well as the history of VR ideas, starting with a short story in 1935! VR has a long way to go before it is a staple feature of UK homes. With sets costing up to £800 and some requiring high-end computers, it seems the best way to try out VR is in exhibition contexts. Janet recalls VR installations at the Björk Digital exhibition, and Lauren had a go at the ‘Energy Renaissance’ VR project at Somerset House exhibition ‘Space to Breathe’ last weekend. We spoke to Andy Franzkowiak, one of the creative minds behind ‘Energy Renaissance’. Andy explains that patience is crucial in the world of VR, and that time needs to be put into ensuring that the quality of material produced for VR matches the quality of the equipment. Could VR be the perfect antidote to our obsession with throwaway gadgets, rapid stimulation and fast-paced change? Finally, we take a brief look at 3D sound and its potential both as a supplement to VR, and as an experience in its own right.