Tempted by Tomorrow
+The Aesthetics of Ethics 2015
+ + + +The Aesthetics of Ethics is a research-based project on social documentary photography. It reflects on the way social matters get to be portrayed and on what this protocol of representation might say about citizenship, ethics or political consciousness. The installation addresses the topic from a social control point of view; it attempts to unfold the documentary format as a map of human value(s) upon which social judgment might be done. The installation includes deconstructed photographs, printed on four layers of Plexiglas (30 mm distance from each other). Each layer displays a particular amount of information about the topic / people portrayed, next to the original publication in which the photographs were found.
+Ana Luísa Moura (PT) has a background in Architecture / Urban Planning and is currently exploring means of visual storytelling and strategic illustration. Her research focuses on typologies of portraying within media imagery, regarding in particular the instrumentalization of vulnerability and personal exposure.
+
+ (…) Information on social matters must address the urgency of the topic, the extension of the problem and the moral integrity of the people involved. Exploitation of welfare benefits is a constant concern; many individuals appear to make no effort to work enough, try hard enough or present themselves well enough. The understanding that economic inequality goes far beyond the individual’s power seems to find its backdrop in an increased attention to the individual’s personal effort. The Dutch TV program ‘Dubbeltje op zijn kant’ invites people with debt problems to openly share their privacy in order to receive financial advice and ultimately help. The program gathers different profiles of trouble in order to address and illustrate a variety of moral values. Judgment upon it allows one to restructure what is important and what is not in the management of everyday life. But essentially, what becomes clear is that everyone has a different seat to take and that the proper exercise of this order is achieved by public exposure and judgment. If one doesn’t know how to be poor, society can give him a hand. The public is invited to have an opinion on how these people dress, talk, clean their house or attempt to earn enough to eat. Their condition is mostly their own fault, since they appear to lack the reasoning capacities and life values necessary to find their own way. Unemployment, debt, low income or irresponsible consumption, are not seen as the dramatic result of a sick economy, but as people’s own incapacity to deal with it. The truthfulness of social documentary photography is important in order to make an observer feel at ease. It is important that the picture doesn’t seem to communicate something in particular that people feel forced to digest, but that the observer is given the chance to find things by him/herself. The feeling that one has the right to a subjective peek is essential; it deliberately creates a feeling of uniqueness. Each personal view is then novel and valuable as such. Any opinion that follows feels equally unique and the observer will therefore be eager to express it.
+The subtle display of information is essential to the documentary format. The details in the picture should seem casual and relate directly to the values of the intended public. The disruption of these values, made visible in the photographs, is meant to engage a potential observer with a given cause, with a field of social concern. The intrusive nature of documentary photography (blunt exposure of privacy and vulnerability) is supposed to invite sympathy, empathy, to show harshly what is wrong in order to make it better. But when the information displayed suggests that vulnerable people might be guilty of their own condition, isn’t the public invited to judge rather than sympathize? Some of the values referred to above have remained the same since the 19th century: family structure, childcare, father figure, housing conditions and hygiene. Other values are new and specific to contemporary documentary photographs, having to do more specifically with healthcare (obesity or illness), addictions (smoking, drinking), and stereotyped traits such as tattoos or the superfluous ownership of material goods. When failures in these areas are visible in the photographs (and they always are) then inevitably the belief arises that these people may not be worthy of society’s concern.
+File:LMoura_GP_01.jpg File:IMAGE01.jpg File:IMAGE04.jpg File:IMAGE02.jpg File:IMAGE03.jpg
+Tempted by Tomorrow
+Unintended Images 2015
+ + + +“Unintended Images” is a series of digital paintings based on Google’s image search. Artyom uses screenshots of search results, exploring the multiplicity of images within them. Drawing inspiration from painting, particularly those of Pieter Bruegel the Elder, that regardless their overcrowded aesthetics managed to retain a coherent composition. Artyom’s work reflects on the inability of Google’s search results to be read as a whole and attempts to introduce the coherence of a single image.
+Artyom Kocharyan (AM) is a visual artist based in Rotterdam. His work explores the peculiarities of current image culture, namely the relationship between images and technology that encompasses them.
+
+ File:Vietnam-3.jpg File:Viet-google.jpg File:Bruegel.jpg|Pieter Bruegel the Elder “Netherlandish Proverbs” (1559)
+As a result of image proliferation the online world become a space where images appear to their viewer within multiplicity. Google’s image search is a prime example of this phenomenon. By gathering multiple images inside one space, Google creates a new ‘large image’ that is being framed within our computer screens. However as a tool that is intended to find single images, Google disregards the aesthetic form of those ‘large images’, which it creates rather unintentionally. It arranges individual images within the search result according to their relevance to the topic rather then their visual coherence with each other. As a result those images appear as ‘broken’ and fragmented, and refuse to be read as a single image.
+Artyom’s work reflects on the incoherence that comes with the multiplicity of images within the online world. He uses screenshots of different Google search results, which he manipulates in Photoshop by using ‘healing’ and ‘patching’ tools. For his work Artyom draws inspiration from painting, particularly those of Pieter Bruegel the Elder, which regardless of their overcrowded and noisy aesthetics managed to retain their wholeness as an image. Those paintings took into account the gaze of the viewer, providing pathways through which the human eye could travel and explore the image. Similar Artyom’s work attempts to rehabilitate those ‘broken’ images and reintroduce a coherence that would allow them to be read as a whole.
+Tempted by Tomorrow
+SUPERNOVA 2015
+ + + +In the produced sculptures we see elements of the artists research towards the possibilities of integrating photography into sculpture.
+Elleke Hageman [NL] immerses photography and sculpture into singular pieces with emphasis on formalistic and content-based interaction between the two different entities.
+By assimilating forms, derived from an original, into new shapes she researches the impact of the new manifestation on its origin. This constitutes an environment in which the separate elements refer to each other. The artist sees the physical body and other natural entities as abstract shapes and uses those to formulate a narrative in her sculptures. Furthermore natural phenomena occur in the alteration process of the materials with which she works are often implemented in the final result whether as an inspirational source or an asset.
+ The artist is fascinated with the affect the transformation from the two dimensional image to the three dimensional sculpture produces. She aims to connect photography and sculpture by replicating forms from image to object and object to image.
+She is interested in cosmological phenomena and the relation thereof to mankind and the human body. She sees a clear connection between the human physique, the universe and metals. The sculptures she produced are investigating how the human body and the cosmos can be related in sculpture. In the produced works, she focuses on a collaboration between images of the soft organic body and the harsh look and feel of the metal. Through similarities in shape in between the object and image the artist aims to connect the separate mediums. In some sculptures illumination is a method to connect the image and the physical.
+File:thumbsuper.jpg File:DSC0791.jpg File:IMG_5862kv.jpg File:IMG_5870kv.jpg
+Tempted by Tomorrow
+Zero = 0dB 2015
+ + + +Zero = 0dB is a work about visualizing and understanding the non-audible
+Henk-Jelle de Groot is a Rotterdam based sound designer and musician. After graduating with an Audio / Visual design bachelor Henk-Jelle set up a sound studio in Rotterdam to work in the Audio / Visual industry. After seven years of working he returned to the Piet Zwart Institute to graduate in a Master Media Design And Communication. In addition to working in the Audio / Visual industry, he is musician and builder of electronic instruments.
+Tempted by Tomorrow
+RRTRN 2015
+ + + +The real-reel-to-reel-network[RRTRN] is a media archaeological platform that represents an investigation into a fictional, part electronic, part acoustic and part mechanical network and storage system.
+Joseph Knierzinger[AT] grew up in a circus and is a trained banker, artist and dilettantish engineer. His artistic output is between installation, intervention, wearable instruments and performances. In his work he explores obsolete media and the implementation of it into our here and now, as well as the mechanisation of the non-sense. Currently he manages his presence between Rotterdam and Vienna.
+
+ Since the rise of information theory we know that the processing of a signal always results in loss, there is always an element of friction. In the [RRTRN] three terminals are connected together via a single tape loop. Each terminal consists of a modified reel-to-reel tape deck and a computational work-station running a simple messaging program. Every message that a user on the terminal writes, will be modulated into sound, recorded on the tape and sent(=rolled) to the other terminals. There the received audio signal will be demodulated back into the message and it appears on the screen. By its particular setup the installation is classed in an unusual ring network topology, where information flows counter-clockwise.[RRTRN] deals with the materialisation of networks and reveals hidden technological layers and deals with contingency in the development of technology by considering media of the past and imagining different uses.
+File:Rrtrn.jpg File:Rrtrnweb1.JPG|Terminal File:Rrtrnweb2.JPG|Tape deck File:Rrtrnweb3.JPG|Tape deck File:Rrtrnweb4.JPG|Example house [RRTRN] File:Rrtrnweb5.JPG|Ring topology File:Rrtrnweb6.JPG|Overview operation manual
+Tempted by Tomorrow
+A Unique Line 2015
+ + + + + +Junyu CHEN (1990, China) is an artist using video and drawing as her main tool for self-analysis to address the visual language we communicate with. She has a specific enthusiasm for depicting the process of drawing physically and conceptually, and into the way we question the current state of drawing.
+
+ File:line copy.jpg File:DSC06559_copy.jpg
+Tempted by Tomorrow
+Immaterial Labour Union 2015
+ + + +The Immaterial Labor Union was born out of a desire to negotiate terms of service and push for the protection of personal data on a transnational scope, against avid, corporate social networking companies profiting from user-generated content. The Union aims, in the short-term, to readdress abuses concerning the unfair working conditions perpetrated through the processing of our online data, and in a long-term to conceive and shape alternative social networking solutions.
+After completion of her bachelor studies in Graphic Design, Lídia Pereira [PT] became intrigued by the friction between digital utopias and material realities. Her current work is concerned with the political organization of labour within digital economy, presenting a focus on the power structures governing online behaviour.
+Tempted by Tomorrow
+Cassandra 2015
+ + + +Cassandra is a voice-operated chatbot, aimed at making psychological profiles during the conversations. These profiles are shown as pie charts where personality aspects are represented by a color. The graphics are accompanied by a short analysis and a list of companies possibly interested in the profile. In this sense, the bot provides data that can act as a mediator in services like job-seeking and dating.The profile then becomes a digital representation of the user and can be used as a kind of digital key to personalize every gadget in the near future of the Internet of Things. Make your life easier, let Cassandra make a digital copy of you.
+Lucia Dossin (BR/NL) has a background in architecture and webdesign. She works at the intersection of art and design, currently focusing on the interactions between humans and computers and their implications in subjectivity, language and politics.
+Tempted by Tomorrow
+The Focal Camera 2015
+ + + +'The Focal Camera' is a workshop that takes a critical look at how cameras are constructed and how design choices influence not only our usage of them, but also the photos they create. It exposes the social and political bias present in a tool we take for granted.
+Mathijs van Oosterhoudt [NL] is an artist that engages critically with the political landscape of media, exploring the direct and indirect social and cultural influences of invisible technology. His works present such exploration through various ways of participation and interaction.
+
+ File:TheFocalCamera_Promo4_SMALL_4x3.jpg File:Gradcat-1-2.jpg File:Rop9.jpg File:Gradcat-2.jpg
+The Focal Camera is a project that takes a critical look at how cameras are constructed and how design choices influence not only our usage of them, but also the photos they create. Tools and technology are by no means objective as often thought, but rather subjective, as they are created by people. With that comes a certain social and political bias. The way it is shaped and the way it works amongst others change our perception of said technology and thereby the end-result. Considering the importance of photographs in the image culture we live in, it becomes a necessity to understand such a bias: The choices made by inventors, designers, engineers and executives throughout the history of the camera undoubtedly changed our way of thinking of photography and imagery, but almost always goes unnoticed or unremarked.
+Driven by the need for profit in order to compete with various other companies, their choices might not always be what we would want or desire, in a way creating a capitalistic camera: A camera first and foremost to be sold, not used. Furthermore, most of today's cameras' principles are based on those of the first thirty to forty years of cameras made. The mirror in a contemporary SLR camera even stems from that of the camera obscura. While DIY solutions were an option in the past, it has become increasingly hard to understand the current camera, which is a necessity to subvert it. 'The Focal Camera' tries to aid this subversion, whilst exposing and changing the bias that exists within the camera.
+In a two-day workshop participants learn the underlying principles of the parts that make up a camera and are exposed to this critical view. They build their own shutters, focusing mechanisms, viewfinders and lenses, intermittent with discussions on the camera's inherent problems. To go through such a large amount of technical knowledge, specific modules are designed ahead of time: Small model kits that each consist of a specific function. The assembly of such a kit makes it easy to understand how it works, but still gives the user the freedom to make a large amount of choices. The modules can be combined with each other in various ways, creating unique cameras that would otherwise not exist, much like a camera prototyping system. Meanwhile, the ability to produce homemade objectives opens up an array of aesthetic choices. The second day of the workshop is aimed at using the camera, developing film and making prints with easily accessible material, found in any supermarket.
+These modules range from more classical functions such as that of an aperture or shutter, but also consist of more unique designs such that of a RGB splitter, which allows the creation of color photographs with black and white film (Something that might become important with the slow demise of color film). The designs, instructions, workshop dates and theory can all be found online where participation is welcome.
+ +Tempted by Tomorrow
+How To Be More Or Less Human 2015
+ + + +How To Be More Or Less Human investigates how human activity is classified by image recognition software. Computer vision and the gaze of the webcam become the basis for a performance that explores how online databases form an identity of the human subject. Performances will take place every hour during the opening on 3 July and by appointment during the exhibition.
+Max Dovey [UK] is 28.3% man, 14.1% artist and 8.4% successful. His performances confront how computers, software, and data affect the human condition. Specifically he is interested in how the meritocracy of neo-liberal ideology is embedded in technology and digital culture. His research is in “liveness” and real-time computation in performance and theatre.
+
+ File:Howtobemoreorless_thumbnail.jpg
+How To Be More Or Less Human investigates how human activity is classified by image recognition software. Computer vision and the gaze of the webcam become the basis for a performance that explores how online databases form an identity of the human subject. A clinic is divided by two computers that continually project words from an image recognition program. A man enters at appointed times and performs a series of actions that are analysed by the image recognition software. The confidence levels of the image recognition program become the basis for a performance between a man and an algorithm. How To Be More Or Less Human examines how computer vision classifies gender, race and class through commercial stock imagery. Visual stereotypes and typologies are highlighted and performed by human and non-human actors to demonstrate how humans are encoded into computer vision.
+Tempted by Tomorrow
+Platform 2015
+ + + +Platform is an audio-visual installation, which gives an alternative view of mundane messages posted on on-line social networks. This project presents the loneliness in the on-line socialization on everyday basis. The construction of the piece is similar to a musical composition, reflecting the emotion that the content carries.
+Mihail Bakalov [BG] is a media artist dealing with on-line social networks, digital footprints and metaphysical characters of objects. His methodology of working is through observation and isolation of hidden or neglected elements in daily life. Some of the visuals he creates appear as dreamlike images with fictional elements, where meanings of reality shift.
+Tempted by Tomorrow
+Finity of lists 2015
+ + + +The web is the world of classified information. Individuals as information collectors operate within databases and their lists in order to access information and gain meaning of the world. This research explores the effect of the list on the online information collector by looking at its political and ideological dimensions. It focuses on online lists of search results and how they enforce a flat online experience.
+Nikos Voyiatzis' work explores information organisation in its political and aesthetic dimensions, particularly in the networked context. He has a background on Library Science and Information Systems and has been working as an art librarian, information literacy instructor and workshop designer.
+Tempted by Tomorrow
+Free WiFi 2015
+ + + +Free Wi-Fi is a non-linear audio visual installation manifested in the screens and speakers of visitors' devices. With a collage of found footage and text, it reenacts a series of contemporary events turning them into Simulacra that creates a dystopian fiction-reality. The installation stages a theater of power and control, playing with how the consumption of overly mediated images of events has its meaning recuperated by commercial technological platforms.
+ehCaetano plays Sci-Fi drone in a band called Mountain Dew. He also engages in experiments and empirical researches within the frameworks of art and design.
+
+ Fuzzy Logic
+Surrogates 2016
+ + + +Anne Lamb’s voyeuristic video work, entitled Surrogates, deals with her past and present experiences with heterosexual men and their delicate and often ignored issues of body image and expressed sexuality within the discourse of feminism and queer theory. In this work, the artist video tapes herself in frame with her male subjects, while they discuss her own personal experiences with romance, the limitations set upon men in regard to sexual expressions, and the animosity towards the feminist movement from the position of the heteronormative man.
+Anne Lamb's prior works have dealt with feminine sexual anxiety, animal mythology, and is now exploring masculine sexual identity through voyeuristic video documentation of photo shoots. Anne Lamb graduated with a BFA from the School of Visual Arts in 2011, and has worked for artists such as Marilyn Minter, Elektra KB, and Ryan McGinley.
+
+ File:Tumblr o3y14fvGV11shzr3fo1 1280.jpg
+Fuzzy Logic
+Mama, Tess en ik 2016
+ + + +The photobook series 'Mama, Tess en ik' by Arantxa Gonlag investigates the digital relationship that she has with her mother and sister, who have grown apart. The books' content switches from being in their individual worlds, to specific words they use to each other within their digital communication. Seeing their communication vs. their worlds and situations, she tries to create a stronger bond between them.
+Arantxa Gonlag (1989) is a photographer focusing mostly on documenting stories about the influence of invisible aspects to relationships and individuals. Whilst exploring this aspect within a story she tries to make this invisible element tangible. She received her BA in photography at the Willem de Kooning Academy in 2014, where she graduated with the photobook 'Data Diary'.
+Fuzzy Logic
+In Search of Perfect Orange 2016
+ + + +The origin of Benjamin Li project lies in an event from Holland Got Talent back in 2013. In this particular episode, Dutch jury member Gordon asked the Chinese contestant Wang if he will sing "Nr. 39 with Rice". As a direct answer, Li started his project In Search of Perfect Orange. The results are video works and sculptures that focus on concepts like cultural identity, affection and home displacement. Personal but also critical issues that Li present through different layers of food and meaning.
+Benjamin Li's work is centred around concepts like identity, displacement and online social behaviour. Li completed a Bachelor in photography with distinction at the Willem de Kooning Academie in Rotterdam in 2013. In 2015 Li completed his first publication TE KOOP, an outcome of his project about commodity markets. His work is shown at Showroom MAMA, Art Rotterdam and A Gallery Named Sue, amongst others.
+
+
+Fuzzy Logic
+Abstract Violence 2016
+ + + + + +Cihad Caner [TR] is a visual artist living in Rotterdam. His recent works focus on immigration, cultural identity, reality, counterfeits and production of space. Caner creates a visual by forging the borders of photography and video for a personal interpretation of how humanity can view its changing world amid its ever-evolving environment. He invites viewers to share his experiences by the reproduction of natural and found objects. These objects hold a powerful force of attraction: a moment of uncertainty between what is forged by the artist’s hands and what exists naturally.
+
+ The images of war and migration are mainly based on the images that are being circulated in mainstream and social media. Although, these violent and manipulative images form an important element of public opinion concerning the migration flux and war, they are definitely not direct representations of reality. How to represent reality? Can we talk about the reality in the time of image culture?
+Abstract Violence investigates the image of current war and migration from its first place, from destroyed Syrian cities and from leftover objects. Caner questions the impossibility of representing violent images and how we interpret them within the time of the image culture. The project uses real footage that were shot by the artist in Syria during the recent war. Caner produces an abstract space with 3D scanned-rendered objects, which were collected from ruined houses to emphasize how these events become virtual and make us insensitive. The artist uses two sided video projection, as well as transparent sculptures placed under the screen in order to produce different realities.
+Abstract Violence, 2016, HD, 11’ 08’’, Two sided projection, Polyester Resin
+ +Fuzzy Logic
+In The Company Of Bots 2016
+ + + +Bots operate at the intersection of technical infrastructure and social superstructure. Although they follow strict rules dictated by platform specificity, their status of autonomy sets them apart from regular tools. Wikipedia bots, especially, are measured in terms of utility.
+Cristina Cochior (RO) is a researcher, designer and bot custodian working in the Netherlands. Her interests revolve around automation practices, disruption of the interface and peer to machine knowledge production.
+Fuzzy Logic
+WebPage Act l, ll, lll 2016
+ + + +Choreography as a tool for a wider conceptual, perceptual, experimental view of code for graphic design. Choreography as a way to rethink space, time, and composition structures in web environments. Choreography as a rule-finding/rule-escaping practice. Choreography as an instrument for questioning the conditions, protocols and procedures of composition processes in design. Choreography as a counter-move, a counter-apparatus, force reverted. Choreographing design started as cross-referencing of composition methods, with the aim to transcend the boundaries between the fields of choreography and graphic design. This research led to her project ‘WebPage Act I, II and III’, an assemblage of graphic experiments in a live performance setting combining principles of choreography with the formal structures of coding.
+Joana Chicau [PT] is a communication designer, with a background in performance - classical ballet and later contemporary dance. In her practice she investigates the possible connections between – and coexistence of – choreography and graphic design, aiming to open the possibility to unveil new aesthetic, energetic and social dimensions of design production processes.
+
+ “The term ‘choreography has gone viral. In the last five years it has suddenly mobilized as a general referent for any structuring movement, not necessarily the movement of human beings. Choreography can stipulate both the kinds of actions performed and their sequence or progression. (…) Sometimes designating minute aspects of movement, or alternatively, sketching out the broad contours of action within which variation might occur, choreography constitutes a plan or score according to which movement unfolds. Building choreograph space and people’s movement throughout them. (…) Web services choreograph interfaces; and even existence is choreographed. Choreography, then would seem to apply to the structuring of movement in highly diverse diverse occasion, yet always where some kind of order or desired to regulate that movement,“ (Rosenthal et al, 2010)
+Choreographing design is a starting point in how to relate to my interests as an individual to my design practice and to the current technological media culture. As I mentioned before, digital media apparatus represent a network of people, politics, aesthetics, economies. The computer is the device most explored in my practical work as a designer, and the computer screen as it is conventionally presented carries a very particular mode of spectatorship. I am interested in the relationship between the user and the visual system he/she encounters, and to challenge the tensions between stasis and the ability to move, materiality and immateriality, and the different perceptual experiences that may arise from the act of viewing and interacting with it.
+An important point in developing my project towards a live setting was the question of presence: being here and now. Breaking the distancing between mind/body, self/other, subject/object, designer/design piece; discovery/invention. This way, enhancing the idea of process over product: processes of becoming, becoming structures, becoming in the form of words, text, visuals, graphics. Simultaneously the actions throughout the composition process are being stored in the history of the computer, making it possible to re-create it.
+File:JoanaChicau pic.jpg File:Jo_pic1.JPG|JoanaChicau Performance Setting File:JoanaChicau_Screen_Shot_1.png File:JoanaChicau_Screen_Shot_2.png File:JoanaChicau_Screen_Shot_3.png
+Fuzzy Logic
+LIAPO 2016
+ + + +The Light Interferometer Astro-Digital Packets Observatory (Cephei) has been built with the aim to discover the matching pattern of the star constellation of Cepheus in the sky and over the Earth, through the Internet. The artist is seeking a correlation, recognizable by the identification of some objects' positions in each environment through the use of their respective addressing systems. The project attempts to reimplement the notions of physical constrains and individual perspective in navigating and imagining digital Networks, by comparing data transmission with light emission from far celestial objects.
+Julie Boschat Thorez (FR) is a researcher, artist and proficient creator of far fetched analogies. Her work currently engages with the materiality and geography of digital networks. She regards them as agents, structuring the agency between humans acting across the localities covered, at a pace induced by their physical properties and political orientations.
+
+
+Fuzzy Logic
+Progressive movement towards concrete creation 2016
+ + + +Progressive Movement Towards Concrete Creation presents a series of animations generated by a computer algorithm in real time. The imagery is derived from El Lissittky’s avant-garde abstract works, and visualizes the stock market performance of several companies in the Internet sector. The work aims to put Lissitky's century-old aesthetic in dialogue with the current confidence in technological progress.
+Lucas Battich [AR] is a multi-disciplinary artist, born in San Miguel de Tucumán, Argentina. He studied at Stevenson College Edinburgh, Duncan of Jordanstone College of Art and Design, University of Dundee before moving to Rotterdam.
+
+ File:Progressive movement towards concrete creation.jpg
+Fuzzy Logic
+I-could-have-written-that 2016
+ + + +i-could-have-written-that is a two hour workshop, that critically examines the reading power of text mining software. The workshop dismantels how large sets of written documents are transformed into useful/meaningful/truthful information. A process that is presented by text mining companies as "the power to know", "the absolute truth", "with an accuracy that rivals and surpasses humans". This workshop challenges the image of this modern algorithmic oracle, by making our own. more info: www.i-could-have-written-that.info
+Manetta Berends (NL) has been educated as a graphic designer at ArtEZ, Arnhem before starting her master-education at the Piet Zwart Institute (PZI), Rotterdam. From an interest in linguistics, code and a research based design practice, she currently works on the systemization of language in the field of natural language processing and text mining.
+
+ File:I-could-have-written-that these-are-the-words mb 300dpi.png File:Text-mining-is +1.00 certain.png File:I-could-have-written-that categories-modality.gif
+i-could-have-written-that is a two hour workshop, in which we will write between the lines, raw data will be cooked, and personal oracles will be trained. The workshop contains three parts. We start with a writing exercise in which we challenge the strictness of numbers with words. Then we will train our personal oracles by following the 1989 model Knowledge Discovery in Databases, and do manual pattern recognition with notecards and pens. After this hard work, we will ask three algorithms to do a bit of work as well. They will built your personal oracle, which you can consult at any time in the future!
+Many text mining services offer pre-trained classifiers through API's without specifying how the system is created. They promise to read meaning out of a text correctly. This unconditional trust is the basis of automated essay scoring systems (AES), psychology studies, job vacancy platforms and terrorism prevention. Automated systems are trained to detect sentiment, education level, mental illness, or suspicious behaviour. The techniques are used online in i.e. social media platforms, in the academic field and by the government. However, framing text mining techniques as readerly systems makes them immune for questions and discussion. When text mining results are considered as a product of writing, the presence of an author is emphasized. This makes it possible to discuss text mining results in relation to predefined goals and breaks the idea that text mining results represent an absolute truth.
+Fuzzy Logic
+Choose how you feel; you have seven options 2016
+ + + +What does it mean to feel 47% happy and 21% surprised? "Choose how you feel; you have seven options" is a video work that revolves around this question as it looks at software that derives emotional parameters from facial expressions. It combines human accounts and algorithmic processing to examine the intersection of highly cognitive procedures and ambiguous experiences. Interrogating the discursive apparatus that is being erected.
+Combining his backgrounds in filmmaking and programming, Ruben van de Ven (NL) challenges alleged objective practices. He is intrigued by the intersection of highly cognitive procedures and ambiguous experiences. In his last works he investigates computational quantification of emotions.
+Fuzzy Logic
+The Limejuice Mystery 2016
+ + + +THE LIMEJUICE MYSTERY is a work in progress which concerns the ageing process and decay of a roll of nitrate film. After almost 80 years the film cannot function, because of its first stage in decay. It shows the research space where I investigate the unknown nitrate film, the struggle with the material, and its danger from 1940 until today. I gather different elements together that display how I work and engage with the material: the nitrate film that I found second hand; a vitrine with all the research material including Polaroids that I shot throughout the process (they represent a unique moment which I have limited control over); a documentation of the decay of the film; a documentation of the content of the nitrate film The Limejuice Mystery, a parody of a Sherlock Holmes story made in 1930)1; printed decay fragments on Plexiglas that form a landscape.
+Solange Frankort [NL], Rotterdam based artist, investigates and works within an array of everyday subjects within digital-pop-culture as reference, such as: computer symbols, digital devices, Internet, networks, archives. She uses digital or/and analogue objects to reflect on relationships between humans and the systems they create. Frankort’s work employs a peculiar blend of a little humour and visual aesthetics combined with conceptualism. Adding an unexpected perspective to these subjects, obtaining a perception from them, she creates a social dialogue about media and the digital age.
+Fuzzy Logic
+My Hard-Drive Died Along With My Heart 2016
+ + + +“My Hard-Drive Died Along With My Heart” is a book project created by Thomas Walskaar where he explores people's relationship with hard-drives and what emotions people get after their trust is broken. The book contains a collection of online forum and twitter posts on the topic. As a society we always seem to be looking for a new technical solution for knowledge and information storage and for this, we hope there is one magic, final solution that will solve every issue. But easy solutions create their own problems. The perceived view of the stable nature of digital information differs from reality. Problems like old physical formats, lost or non functional machines, companies that go bankrupt, file formats with no support in the future, changing user licenses are just some of the many points of failure. It seems the more technical the technology gets, the more problems it creates.
+Thomas Walskaar [NOR] is a graphic designer and researcher. He has a BA Graphic Design from Ravensbourne in London before starting his Master at The Piet Zwart Institute. His current projects centre around technology and how history and memory are mediated through the integrity of our devices. He is dedicated to understanding the frailty of storage technology, and the importance of the individual to store with caution.
+Fuzzy Logic
+For the Common Good 2016
+ + + +The culture of 3D shapes online (part of the ‘digital commons’) embraces a vast variety of methods of distribution. Within the context of the boom in 3D printing, virtual models easily become physical. The relation between the digital and physical features enhances the current hype about this medium. In For the Common Good, a group of objects are selected from Thingiverse, the most popular website for sharing creative commons of 3D files. They exist in a grey zone, a disputed border which questions what objects can be shared and produced. However, many shapes share the same coordinates, which provide the foundation for further shapes to be built. By viewing the physically printed objects, people are invited to discuss what they understand the objects to be. A video features the artist as an anonymous performer with a selection of ambiguous objects. The work requires people to reconsider the cognitive relationship with objects.
+Yuzhen Tang / 唐誉祯 [CN] is a media artist who works across cinema, contemporary art and the DIY culture of the network. Her recent work is concerned with the friction between digital fabrication and material reality.
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+ MA 2017
+ + + +The Ministry of Anomie takes pride in restoring the open and normless reality to exploited individuals all over the world. These individuals often don't want our help (probably blinded by the desire for the Barista-quality espresso machines); they tend to be hostile; they beat us.
+The Ministry of Anomie (GL) is a secret organisation that researches and develops the anomic policy. It gathers intelligence information and performs covert operations. Its sabotaging activities usually go unnoticed due to the MA’s radical invisibility and crashing inefficiency.
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+ Adversarial Interface 2017
+ + + +The practice of user interface design has developed over the last decade to support the spreading of ways and devices to access the Internet. On-screen user interfaces are actively thought of as experience producers, concerned with making tasks easy and making technical seems invisible. An outcome of this is a subset of practices of user experience design that has more roots in marketing than in visual design.
+Colm O'Neill (IE) Colm is a designer and researcher based in Rotterdam and Brussels. His work is concerned with mediations of digital literacy through graphical, user and programmatic interfaces. The research and practice that result follow the ideals of free and open source development models.
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+ Adversarial interface is a website collecting tools, extensions, projects and research that enable agonism and critical responses to an overwhelming feeling of mono-narrative in user interfaces on and offline.
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+ Screenscapes 2017
+ + + +Screenscapes is a video installation that aims to express the anxiety of losing oneself in a digital void. The abstract, code-based video uses the author's computer logs, and the video documentation of her digital routine, as a source for data visualisation. The project invites the audience to travel through abstract landscape that will carry the viewer away into the environment it creates.
+Nataliya Sinelshchikova (RU) is a researcher and media artist with a background in graphic design. Her interests revolve around generative art, media specificities and the aesthetics of distortion as an inevitable part of our relationships with technology.
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+ Pomegranate Seeds 2017
+ + + +A scene from the short-film Pomegranate Seeds will be presented at Kino. It is a story of love, grief and identity-theft. After the death of Jenny, a young woman in her 20s, her boyfriend Andrea and her mother Monica, grieve together. Peace seems to settle over the pair until there is a knock on the door, a young woman introduces herself as a medium with a message from Jenny. Who is this mysterious woman and what does she want?
+Samira Damato (DE/MLT) is a filmmaker who explores various facets of love and nostalgia. With her transnational background, Samira has experienced various cultures as a distanced observer, and uses these experiences in her practice. Her films have been screened at international festivals.
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+ The short-film Pomegranate Seeds explores facets of emotion experienced around grief, not necessarily focussing upon it. The deification of a lost loved one, an attempt to replace or resolve the space which they once filled, and the conflicting emotional hardship that comes with survival.
+Having written various screenplays around the subject, the film is a reiteration of various narratives into one concise and poignant portrayal.
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+ The Face of a Refusing Machine 2017
+ + + +As hundreds of amateur videos of military aircrafts and drones flying over Syria appear online everyday, this work attempts to construct a perspective on aerial power where politics, technology and pop culture meet. Starting with a rare videotape of an Israeli drone hovering over the Lebanese Southern village of Qana in 1996 and ending in the Syrian outskirts of Raqqa 2015, this work combines storytelling and archival footage, together with drawings of early aircraft cockpit designs, computer graphics and toy commercials from the 1960’s to draw a link between the horrors of aerial warfare and the cockpit as a space that dictates and responds to particular corporal attitudes and functions.
+Sara Hamadeh (LB) is an artist and researcher with a background in film studies. Her current research seeks to offer a critical reading of images of war together with the politics of their production and distribution online.
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+ Bonsai 2017
+ + + +Bonsai is a 3D project created by Stone Ying Shi in which she reconsiders the female figure by forming them as plants. Stone Ying Shi views people's rooms as their private spaces, and the people as potted plants within those rooms. The bonsai deforms the figure, and represents the way we are formed by the way we are perceived to be.
+Stone Ying Shi 石颖 [CN] is a film maker and visual artist who works with photography, 3d images and videos. She has a BA in Film Directing (Editing Art and Technology) from Communication University of China in Beijing. Her current projects play with human bodies, and colours within an unknown space.
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+ All about Fresh to Decay 2017
+ + + +Fresh to Decay refers to a series of short experimental films about the lives of juveniles, their thoughts, and emotions. The work involves marginalised subjects such as: sex, campus violence, and depression. It comprises of video clips from different platforms along with original dialogue written by the filmmaker. Each short film can be viewed independently as an individual project, or seen as chapters of a larger whole: "Fresh to Decay".
+Xiting Xu (CN) has a background of screenwriting and lens-base art. Her work is influenced by a variety of media such as film and cyber-culture. By combining the fictional narrative with real people’s online life, her work draws a unique picture of young people in the Internet age.
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+ Me and Christina 2018
+ + + +Me and Christina is an autobiographical work that is directly based on an experience of losing control over an image. With photography and livestreaming, the work questions ownership, control of body and image, privacy and intimacy.
+Anna Lena Lystad (NO) is a Fine Art Photographer whose work is exploring exposure of the body and the private. Based on her personal experiences she investigates the boarders between herself as a photographer and subject matter, often resulting in intimate and uncomfortable images.
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+ Sky Islands 2018
+ + + +Sky Islands: A time travel of the Andes Mountains is a collaboration with the Institute for Biodiversity and Ecosystem Dynamics, University of Amsterdam. It is a film that combines 3D animation with photography to envision one chapter of the ecological history of the Northern Andes Mountains of South America. In the times we are living today, the anthropogenic global warming is affecting not only our human species but also the whole species and inhabitants of the planet Earth. For this reason, this project seeks to visualize how an extraordinary ecosystem and a refuge of unique diversification and a hotspot of biodiversity, called Paramo, took at least 2 million years of evolution. This visualization opens a door to travel from the Pleistocene to the Anthropocene as a first step toward opening minds of its importance, and to implant a concern and post a question: Are we still on time to avoid losing more than 2 million years evolution of an extraordinary ecosystem in the Planet Earth?
+Catalina is a Visual Artist and Biologist. She has been experimenting photography, film and animation of the Earth. Her interest is the use of video and mapping projection to envision past, present and future ecosystems. She thinks that visualizing the history of Earths'ecosystems is the first step to bestrew dreams and create potential future realities with past and original environments in balance with current human civilization. Her philosophy of life is to contribute to environmental education and to plant seeds of consciousness to treat our planet with love and respect.
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+ Fabian Landewee 2018
+ + + + + +Fabian Landewee [NL] is a photographer and visual artist based in Amsterdam. His practice focuses on image as object and photographic production. Expanding this to his fields of interest, the (im)possible representation of LGBTQ+ people is one of his main subjects; with recurring themes like vulnerability and desire.
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+ “Untitled, 2018” is an installation of photographs. In the space, bodies meet bodies, represented as photographic objects and through depictions of flesh. On the wall large prints of photographic apparatuses hang next to intimate images of LGBTQ+ individuals. The artist combines his interest in the gay gaze together with exploring notions of ‘seeing’ in itself. By focusing on the objecthood of photographs he attempts to emphasize materiality - and therewith vulnerability - in the photographic medium.
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+ Referendum Medialogs 2018
+ + + +Referendum Medialogs is a work in progress, mapping a journey of the events before, during and after the referendum, showing a series of conflicts leading to both blocking and distributing practices, in a context strongly characterized by nonstop overloads of inaccurate information. At the same time, Referendum Medialogs digs into the issue of disinformation and media noise, using open source revision control software to track and log article revisionism.
+Franc is a visual designer from Barcelona. His work intersects printed matter digging into the political side of software and design as part of his studies, in an ongoing quest to better understand the radical implications of digital tools to society and individuals in general. This has led to his current research in the use of revision control software applied to journalism, in the dramatic context surrounding the Catalan referendum.
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+ Unlearning the Rules of Collectivity 2018
+ + + +Unlearning the Rules of Collectivity is a research project that studies practices of collaboration for art and education models and existent communities. In the thesis, there is an interest in looking at the meaning of community and cooperation, and in rethinking these concepts in different terms. My proposal is to introduce different values that would aim to create a balance between individuals and their natural competitive forces, and the collective, with a need for community and cooperation. The research explores a variety of possibilities and values which calls for a need for balance.
+Giulia explores models of collaboration for art and communication. She is interested in dialogical structures for sharing and making and counter-practices in the organization of communal life. Her work includes projects such as The Autonomous Archive, a digital database that archives the historical documents of a former squat, and The Temporary Autonomous Bureau, a temporary office and educational project that explores meanings of self-organization for the city of Rotterdam.
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+ Irma Oldenburg 2018
+ + + +In the documentary Nothing has to be Official (2018) Irma Oldenburg portrays a Dutch rebel who declared himself a sovereign citizen living within a like-minded community. As a 'Tachyon Energy' facilitator he provides clients with alternative energy healing sessions. He supports numerous conspiracy theories believing Donald Trump will protect the world from a corrupt satanic elite. Oldenburg follows the consequences of his self-declared freedom.
+Irma Oldenburg [NL] is a visual artist based in Amsterdam. She creates documentaries, short narrative films and video installations. Her work explores the psychology of manipulation and rhetorical structures of storytelling. Recurring themes in her work include the longing for "a bigger other". This other manifests in different forms, e.g. the greater all-knowing spirit, those that follow the advice in self-help books, YouTube gurus who preach to their thousands of followers and company that sells nothing physical but the service of advice. These sources are always paramount to the role of character's she creates of chooses to follow.
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+ Back It Up 2018
+ + + +The intangibility of social dances create a disruptive beauty of pure fulfilment in the moment, a true sense of flow, as well as a yearning for the fleeting memory that may be lost forever. Back It Up is an interactive performance of two swing dancers whose steps are controlled by the audience. It is accompanied by graphical notation systems, traces of the non-verbal dialogue between dancers and the atmosphere in the room recorded by the audience. The difference in perception of the experience is what makes every recording unique.
+Karina Dukalska is a graphic designer challenging the physicality of books by enforcing physical interaction. Engaging with the content through materials, tangibility and actions deepens the experience of consuming the content itself.
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+ Anomolous faces 2018
+ + + +Improvisation poses questions upon the production and dissemination of artistic work in terms of its material value, and traditional attributions of mastery. Karen Eliot is an improviser, musician, artist, and activist who works to resist standardised valuation of artistic practice. Her work cannot be characterised in distinct forms, but exists as a multitude of actions, challenging ownership, identity and representation.
+Max Franklin is a musician and digital artist currently based in Rotterdam. His work is concerned with the fragile nature of improvisation in music, with software. He has worked within this position since completing his studies in Music, moving between a wide range of acts involving music, technology, design, arts and education.
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+ Unpublishing 2018
+ + + +Nadine works diligently, though in all likelihood her work will be forgotten. Surely, that is a basic right. However, those interested in her or her work, might still find her by typing a particular combination of letters and words into a search engine. There is little doubt that these titbits will instantly appear; further undesired information can be seen when clicking on ‘next page’ until something interesting and satisfying might show up. Given such an eccentric name, finding the appropriate results should be quite easy.
+Nadine Rotem-Stibbe [EU] (1990 – unknown) beloved daughter, cherished granddaughter, ruthless sister and fickle friend. She is forever seeking to attain the of role an independent artist and designer, mistakingly thinking she could make the world a better place. She resides in our hearts, occupies our mind and will reluctantly live forever on social media.
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+ Alt Reality Lexicon 2018
+ + + +The Alt Reality Lexicon is a lexicon of neologisms that helps the demystification and clarification of the language used by two prominent far-right online subcultures: the Alt-Right and the Manosphere by translating jargon to common language. In order to keep conversing about our differences the editors of the lexicon build a door in the walls of the echo chamber to open it up to a broader audience.
+Pleun is a visual artist and graphic designer aiming to research ways to create and share new narratives about current affairs and interests while pushing the boundaries of her practice.
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+ Foremothers 2018
+ + + +In the project Foremothers, Sigrun reenacts her female ancestors photos, with emphasis on gestures and posing, exploring her identity through the process. By focusing on similarities and differences, dissecting the key elements she creates unique self-portrait reenactments that also reflect on her own identity.
+Sigrun Lydsdottir (IS) explores feminine identity through photography and the moving image. She asks questions about gender equality, female objectification, while looking at the beauty and strength in femininity. She uses self-portraiture, allowing her total control as an artist, and symbolism in props and image build-up, to express her intentions and opinions.
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+ ALEPH ZETA: The Star 2019
+ + + +This film is a part of an experiment in constructing a visual language that can be seen as a consequence to her attraction to chance and the unintended.
+Ana Buljan [HR] is an artist who works with still and moving images that seek to preserve ephemeral landscapes. Her work pursues the transient, situated through frames of memory and dislocation. Her current research has focused on situating traditional filmmaking methods within contemporary narratives. She also works as a production designer in film and theatre.
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+ Chasing the Light 2019
+ + + +Chasing the light is an installation based on individuals who volunteer to study Hong Kong's archival documents stored in National Archives, London, reflecting on the identity issue. The installation includes moving image as well as documents and images from the research, that works as a personal archive itself.
+Dorothy Cheung is a writer and artist. Born 1987, currently based in Rotterdam, NL. She has co-written the screenplay of Pseudo Secular (2016), the film is selected for various festivals including South Taiwan Film Festival, 34th Torino Film Festival, Hong Kong Independent Film Festival, and Taipei Film Festival. Her moving image work, Letter to the Outsider (2018) is screened in EYE Filmmuseum and selected for the competition in the 20th Seoul Women’s Film Festival and 18th South Taiwan Film Festival.
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+ I Declare A Thumb War 2019
+ + + +I Declare a Thumb War is an re-enactment of a found photograph from the beginning of the so-called war on terror era, of a soldier playing a friendly ‘thumb war’ game with a child. The video re-stages this absurd state-sanctioned image, a false utopian ideal and propaganda fantasy, and departs from it by situating it in an alternate uncanny reality.
+Ewan Macbeth is a Scottish artist based right here. His practice focuses on the creation of installations, which utilise film, image, and sound based works to explore the relationship between reality, simulation, empire and propaganda. Originally from a documentary photography background, he now uses speculative fiction to question media narratives and power structures.
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+ Dignity on Fire 2019
+ + + +'Dignity on Fire' is an exploration on home space and decadence, a trace on a traumatic event, as the artist took these images in her own home/studio after a fire destroyed it in 2017, in Rotterdam. A personal journey through existential crises, memory loss, unconscious anxiety until she experienced how to not be a stranger to herself. Within this work she is pretending to understand growth and control, then she remembers: “I’ll forget everything once.”
+Henrietta Müller (HU/RO) The young interdisciplinary artist, known about her obsessions, she is constantly engaging with opposite ideas to understand more about perception and how to use mediums as tools. Originally from Transylvania, where since a young age she was performing and touring with an alternative theatre group and later was actively writing poetry slam and organised art camps. Henrietta moved to The Netherlands in 2014 and has been practicing photography, new media and performance ever since. The change between a post-communist country to a capitalist western society lead her into a more individual artistic research and gained her interest about human suffering.
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+ Liminal connections 2019
+ + + +Liminal Connections is an ongoing project that examines how intimate and sexual encounters within the world of ‘camming’ influence the digital and corporeal space connected to them and the relationships formed in these spaces. The works question how mediated forms of bodily representation shape us and our understanding of sexuality, intimacy and connection.
+Lotte Louise de Jong [NL] is a media artist with a background in filmmaking. Her work is research-based and ranges from installations to more traditional forms of narrative. The main thematics in her research are identity and sexuality. More specifically she investigates how we, as a society, view and shape our identity through mediated spaces like the digital world. The internet as a space for exploring sexuality has been the main focus of her past projects.
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+ Lost The Plot 2019
+ + + +Lost the Plot is a series of works focusing on bodies being captured and recreated in digitised, virtual and mechanical formats. It consists of a series of pen and ink drawings made on plotting machines. The figures in the drawings are sourced from 3d animations which are shown alongside the drawings. Human movements captured by motion capture technology are processed through physical simulations that alter the human form.
+Mike Pelletier is a Canadian artist based in Amsterdam. His work focuses on the relationship between the body and technology.
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+ The Silent Ray 2019
+ + + +Oscillating between memory and hallucination, The Silent Ray probes the relation between public and private retelling of dramatic historical events — namely, the colonial war Fascism waged against Ethiopia in 1935-36. Through careful spatial reconstruction and a form of narration that draws extensively from the theatrical monologue, the work explores the human need for transcending one’s social and personal constraints, regardless of consequences.
+Rossella Nisio [IT] is visual artist based in Rotterdam whose work has a strong focus on notions of memory, imagination and space. She has a background in the theory of cinema and performing arts; she pursued her practical training first within the field of documentary photography, eventually moving towards autonomous still and moving image-making.
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+ This is my land... 2019
+ + + +This is my land… is an experimental 2-channel film examining the trial of a woman whose home is threatened by a new development project. The work explores the use of language and rhetoric, its deployment in support of incommensurable worldviews, as well as competing visions of utopia, progress and home.
+Salvador Miranda [CA/MX] is an artist and writer. His research explores grand narratives and the images/propaganda that (re)produce them. His work often explores alternative narratives, and the re-appropriation of language and imagery under new contexts. In particular, his work focuses on the tension found in the images we consume and our visual affirmation of them.
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+ Purple?Purple!Purple. 2019
+ + + +<Purple?Purple!Purple.> is a 6’56” video essay showing the passage of my exploration on finding different identities of my favorite color purple. It shows a color can be perceived and interpreted in many different ways according to its related contexts.
+Shinyoung Kim[KR] is an animator and illustrator who loves colorful and bold designed images. Started from a commercial background in her home country, South Korea, came to the Netherlands to have deeper understanding on aesthetic of arts. Used her master year to develop herself by adapting to new environment as well as learning new ways of thinking. Always trying to be more friendly to public, with her unique visual skills which easily captures peoples eyes.
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+ Far from Home 2019
+ + + +In the film Far from Home, Zhibin shares his homesickness for his hometown in China, 9000 Kilometers away. A personal struggle to accept and adapt to Dutch culture further increases his feelings of alienation and so he calls his family very often to keep himself in the ‘comfort zone’.
Zhibin Qin (CN) is a visual artist based in Shanghai and Rotterdam. He has a good eye to capture the beauty and he is full of passion to explore the cinematic technology. In the past two years, he creates short narrative films, commercial video projects, vlogs, and documentaries. His works reveal his strong interest in shaping the critical and honest narrative methodology in the film. He focused on the air pollution in his hometown; He spent months on the cinematic technologies to design special effects in films; He explored the reason behind the camera fear by testing with people with different cameras in multiple scenarios. He constantly makes different types of films and he wants to shape his own cinematic language.
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