Happy to announce that I’m curating a new programme called Rules of Engagement for the Open Data Institute’s annual Summit on November 10th. The programme features new commissions from Nick Briz, A.M. Darke and Everest Pipkin. By seeing people as more than just data points, Rules of Engagement asks those with power to reimagine how we engage with data, advocating for an ethical data future for everyone.
The Open Data Institute (ODI) arts programme Data as Culture harnesses the critical and unexpected voices of artists in response to ODI’s research. The current research and development programme looks at sustainable data access and building trust through certification, and creating data infrastructure for common challenges.
Rules of Engagement is curated by guest curator Antonio Roberts who was inspired by the numerous scandals involving data towards the end of the 2010s. The artist’s work will be integrated throughout the ODI Summit 2020 – Data | Futures and online.
Commissioned artists Nick Briz, A.M. Darke and Everest Pipkin interrogate the systems that have allowed unethical use of data. Through their work, the artists ask important questions that all of us should be considering, such as why could there be mistrust in current data practices or should data collection even be considered in the first place and who are the people or communities impacted by data misuse.
The artists have taken a very open approach, exposing ‘black-box’ AI systems, showing what technology says about us; challenging people who work with data and those who are subjects of systems that use data to reflect on their own biases, which may influence how data is used and collected.
Nick Briz’s commission, howthey.watch/you exposes the tracking technology built into our everyday experience of internet browsing. In this online work, the artist discusses this technology and asks important questions about its uses beyond fingerprinting and, ultimately, tracking.
As Research & Development artist-in-residence, A.M. Darke is researching a new work which will confront us with the biases and prejudices embedded into algorithmic systems which govern everything from credit ratings to criminal convictions. The artist is seeking to create a system imbued with their own biases, to expose how algorithms are extensions of its programmers. They want to reveal the uncomfortable truths surrounding algorithms’ far-reaching consequences, particularly for people from marginalised communities. During the Summit, they will take part in an in-conversation with curator Antonio Roberts discussing the challenges of creating such work while consistently working within a data ethics framework themself.
Everest Pipkin’s Shell Song is an interactive audio narrative game about corporate deep-fake voice technologies and the datasets that go into their construction. The game explores physical and digital bodies and voices, asking what a voice is worth, who can own a human sound, and how it feels to come face to face with a ghost of your body that may yet come to outlive you.
All of the commissions and residency details can be found on the ODI’s Data as Culture website.
All of the commissions and residency will launch at the Summit on 10th November and will then be available to the public by 11th November. Check back here on 11th November or follow me on Twitter/Instagram for links to the artworks.
Thanks to Hannah Redler-Hawes and the ODI for the invitation to curate this programme, I’m really happy with the artworks!