1
25
9
-
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ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
QuickTime/Second Life
Genre
3D environment
Work URL
The URL of the original work, included as an HTML link.
<a href="http://www.sarahwaterson.net/?p=144">http://www.sarahwaterson.net/?p=144</a>
Artist Statement
A statement about the work, as provided by the artist(s).
Trope creatively intervenes in the ways that readers engage with literary texts and aims to expand writing networks and to further develop the virtual literary community. Trope features short fiction and poetry in selected exhibitions. Texts are repositioned in a spatialised visual format/s and audio designed for SL users to experience texts in a three dimensional world. <a href="http://www.sarahwaterson.net/?p=144">Sara Waterson.</a>
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://www.sarahwaterson.net/?p=144">Sara Waterson's website</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Waterson_trope
Title
A name given to the resource
Trope
Creator
An entity primarily responsible for making the resource
Waterson, Sara
Davies, Cristyn
Knox, Sara
Date
A point or period of time associated with an event in the lifecycle of the resource
2008/9
Contributor
An entity responsible for making contributions to the resource
Davies, Cristyn
Knox, Elena
Language
A language of the resource
English
Description
An account of the resource
<strong>Artist Statement</strong><br />Trope creatively intervenes in the ways that readers engage with literary texts and aims to expand writing networks and to further develop the virtual literary community. Trope features short fiction and poetry in selected exhibitions. Texts are repositioned in a spatialised visual format/s and audio designed for SL users to experience texts in a three dimensional world.<br /><a href="http://www.sarahwaterson.net/?p=144">Sara Waterson</a>
Rights
Information about rights held in and over the resource
Copyright Sara Waterson, Sara Knox and Cristyn Davies. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Subject
The topic of the resource
New media
Real-time 3D art project
Cristyn Davies
New media
Real-time 3D art project
Sara Knox
Sara Waterson
-
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752c94a2a1e35d54b51aa9a4caad9d16
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://chrisrodley.com/2013/04/13/375/">http://chrisrodley.com/2013/04/13/375/</a>
Artist Statement
A statement about the work, as provided by the artist(s).
Don't Leave Me, Baby is a digital poem created out of live social media data. Messages of emotional anguish and insecurity are sourced in real time from Twitter and matched with expressions of consolation and reassurance. Tears are wiped away as soon as they are shed; hearts are mended as soon as they are broken. In the data stream, our emotional evolution takes a great leap forward; the human psyche becomes a flawlessly resilient, self-correcting system. The work is part of a wider exploration of the emergent personality of the Internet and the possibilities of data-driven text by hybrid media artist Andrew Burrell and writer Chris Rodley.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://chrisrodley.com/2013/04/13/375/">Description from author's website</a>
Genre
Digital poem
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_dontLeave
Title
A name given to the resource
Don't Leave Me Baby
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Language
A language of the resource
English
Description
An account of the resource
<strong>Artist Statement</strong><br />Don't Leave Me, Baby is a digital poem created out of live social media data. Messages of emotional anguish and insecurity are sourced in real time from Twitter and matched with expressions of consolation and reassurance. Tears are wiped away as soon as they are shed; hearts are mended as soon as they are broken. In the data stream, our emotional evolution takes a great leap forward; the human psyche becomes a flawlessly resilient, self-correcting system.<br />The work is part of a wider exploration of the emergent personality of the Internet and the possibilities of data-driven text by hybrid media artist Andrew Burrell and writer Chris Rodley.<br /><a href="http://chrisrodley.com/2013/04/13/375/">Source of Artist Statement</a>
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
Digital poem
New media
-
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0fa93692fd512b5f366481d932fb927c
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647eb242997d876619b4aa4190d2458e
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://www.welcometopanopolis.com/#">http://www.welcometopanopolis.com/#</a>
Source of Description
The source of information included in the Description, included as an HTML link to the relevant URL where possible.
Gillian Fuller
Artist Statement
A statement about the work, as provided by the artist(s).
Welcome to Panopolis explores the im/possibility of uniqueness in digitally networked environments - places where almost everything we want to say is always, already being said by someone else. It uses geographically disparate pieces of data to create a virtual space with distinctive emergent qualities where readers can examine and reflect on the un/predictable, un/reliable nature of online information. By filtering and re-combining social media content, Welcome to Panopolis incites new textual and narrative possibilities.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://miscellanea.com/artworks/welcome-to-panoplolis/">Description from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_panopolis
Title
A name given to the resource
Welcome to Panopolis
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Description
An account of the resource
Welcome to Panopolis takes the form of an imaginary travellers/tourist online guide that outlines a series of predictable and cliched experiences in what influential anthropologist Marc Auge, has labelled 'the non-places of supermodernity': spaces exemplified by airports, tourist areas, subways and spaces of transit. The work also enacts the self-consciousness of tourist discourses as outlined by many theorists in mobility studies. The website is divided into chapters typical of travel guides Sightseeing, Dining Out, Health & Safety etc The text humorously outlines 'typical' experiences in a semiotically pre-packaged world. The canned experiences outlined in the textual guide is offset by the idiosyncratic and contextually unknowable feeds of social media texts that feed into the website via 'notes' appended to various pieces of text in the guide, creating a world both familiar and strange. Gillian Fuller
<strong>Artist Statement</strong><br />Welcome to Panopolis explores the im/possibility of uniqueness in digitally networked environments - places where almost everything we want to say is always, already being said by someone else. It uses geographically disparate pieces of data to create a virtual space with distinctive emergent qualities where readers can examine and reflect on the un/predictable, un/reliable nature of online information. By filtering and re-combining social media content, Welcome to Panopolis incites new textual and narrative possibilities.<br /><a href="http://miscellanea.com/artworks/welcome-to-panoplolis/">Source of Artist Statement</a>
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
New media
-
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851887239bf8399cf9ffdd630eb7bb9b
http://sstars.ws/files/original/1b503a0c5b302f8d86b779fd69fe4bbb.png
9a5aee6e1af0f72a1243a3528efb70c2
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://chrisrodley.com/2013/10/10/datafiction-v0-1/">http://chrisrodley.com/2013/10/10/datafiction-v0-1/</a>
Source of Description
The source of information included in the Description, included as an HTML link to the relevant URL where possible.
<a href="http://visual.artshub.com.au/news-article/news/visual-arts/top-5-artworks-from-electro-nerds-196910">Anne Phillips, blog Visual Arts Hub</a>
Artist Statement
A statement about the work, as provided by the artist(s).
We live in an age of big data, when much of what we say and do is captured and stored in vast, searchable databases. What is the future of the novel that most personal and intimate of artforms as private lives are increasingly turned into public data? DataFiction v0.1 is part of a major new collaboration between myself and artist Andrew Burrell that aims to create a real-time, data-driven novel. These excerpts of generative, network-sourced prose were presented as early work-in-progress, with the aim of inciting audience interest and critical feedback.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://chrisrodley.com/2013/10/10/datafiction-v0-1/">Description from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_datafiction
Title
A name given to the resource
Data Fiction v0.1
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-ongoing
Description
An account of the resource
It's often said that dialogue in fiction is determined by the conventions of the novel, rather than by the way that people actually speak. However, artist Andrew Burrell and writer Chris Rodley aim to change all that by creating the world's first data-driven novel. With the tremendous growth of social media, the internet has become an ever-expanding repository of stories created by individuals sharing their personal milestones and tragedies online. Ninety percent of the world's data has been created in the last two years and dataFiction v0.1 aims to mine this vast resource in order to discover how people tell their stories in real life. Chris Rodley tells me that if you search a fairly standard phrase, such as 'You have beautiful eyes,' you hit on some rather surprising, yet common combinations. For example, 'You have beautiful eyes and a moustache,' which is not something that you would expect to read in a novel. The challenge for dataFiction v0.1 is to curate these snippets of stories into a novel-length narrative. I can't wait to see what they come up with. In the meantime, it was compelling enough to watch those partial narratives flash across the screen.<br /><a href="http://visual.artshub.com.au/news-article/news/visual-arts/top-5-artworks-from-electro-nerds-196910">Anne Phillips, blog Visual Arts Hub</a>
<strong>Artist Statement</strong><br />We live in an age of big data, when much of what we say and do is captured and stored in vast, searchable databases. What is the future of the novel that most personal and intimate of artforms as private lives are increasingly turned into public data? DataFiction v0.1 is part of a major new collaboration between myself and artist Andrew Burrell that aims to create a real-time, data-driven novel. These excerpts of generative, network-sourced prose were presented as early work-in-progress, with the aim of inciting audience interest and critical feedback.<br /><a href="http://chrisrodley.com/2013/10/10/datafiction-v0-1/">Source of Artist Statement</a>
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
Data-driven novel
Generative text
Installation
New media
-
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76f784eb7cb748c4620d87f03e14866c
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76fca2f34b4134091df528ff55c5385b
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://chrisrodley.com/2013/05/29/getting-to-know-the-digital-hive-mind/">http://chrisrodley.com/2013/05/29/getting-to-know-the-digital-hive-mind/</a>
Related Website 1
The URL of a related web page such as a YouTube clip or Vimeo, included as an HTML link.
<a href="http://miscellanea.com/artworks/enquire-within-upon-everybody/">http://miscellanea.com/artworks/enquire-within-upon-everybody/</a>
Source of Description
The source of information included in the Description, included as an HTML link to the relevant URL where possible.
<a href="http://isea2013-in-realtime.net/2013/06/26/the-big-connect/">Description from the blog ISEA2013, RealTime </a>
Artist Statement
A statement about the work, as provided by the artist(s).
It's a real-time question and answer session which gives audiences the chance to query the Internet collective consciousness on any subject and receive real-time, generative responses. To make it work from a technical point of view, we've needed to define a series of complex (and sometimes simple) algorithms that query online data streams in order to return relevant answers without any intervention from us. Currently we're focused on testing the app that drives the artwork by priming it with questions (if you tweet a question now with the hashtag #enquire Sydney or #enquire Darwin it will be added to the list). We've been finding that the answers given by the digital hive mind offer some glimpses into its emergent personality.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://chrisrodley.com/2013/05/29/getting-to-know-the-digital-hive-mind/">Description from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_enquire
Title
A name given to the resource
Enquire Within Upon Everybody
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Description
An account of the resource
Enquire Within Upon Everybody, developed by technologist Andrew Burrell and writer Chris Rodley, is one of the most engaging of the works in The Portals (or perhaps that's because I've been lured too far into the Twittersphere over recent years). Utilising Twitter and a series of algorithms, questions tweeted to a particular hashtag (#enquiresydney) evoke responses from the social media 'hive mind.' While it might take a day for you to personally receive a response to your own tweet, the answer I got back was pretty much on the money. What astounds me is that, as the work is being demo-ed, one of the mothers from the school band event comes over to request that Enquire Within Upon Everybody is no longer displayed on the oversized urban screen. Apparently, some of the text isn't appropriate for a school-age audience. Although, from what I've seen, the most contentious of tweets have been questions about marriage and gender, addressed to Jesus, or about dreams of Julian Assange. <a href="https://isea2013-in-realtime.net/2013/06/26/the-big-connect/">Description from the blog ISEA2013, RealTime </a>
<strong>Artist Statement</strong><br />It's a real-time question and answer session which gives audiences the chance to query the Internet collective consciousness on any subject and receive real-time, generative responses. To make it work from a technical point of view, we've needed to define a series of complex (and sometimes simple) algorithms that query online data streams in order to return relevant answers without any intervention from us. Currently we're focused on testing the app that drives the artwork by priming it with questions (if you tweet a question now with the hashtag #enquire Sydney or #enquire Darwin it will be added to the list). We've been finding that the answers given by the digital hive mind offer some glimpses into its emergent personality.<br /><a href="http://chrisrodley.com/2013/05/29/getting-to-know-the-digital-hive-mind/">Source of Artist Statement</a>
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
Generative text
Installation
New media
-
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dc2584604220a958a314df8bfab4ff44
http://sstars.ws/files/original/adfde1d79ee97d997d6b92b5eb286f54.jpg
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ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://miscellanea.com/artworks/1000-broken-hearts/">http://miscellanea.com/artworks/1000-broken-hearts/<br /><br /><br /></a>
Artist Statement
A statement about the work, as provided by the artist(s).
On the Internet, a heart breaks every 4 seconds.1000 Broken Hearts was an installation presented at Oxford Act Factory in October 2013 as part of the City of Sydney's Art and About. It reconfigures the last thousand heartbreaks from the Internet hive-mind as spectral projections that dance and flicker at random intervals in three-dimensional space. It asks us to consider the nature and meaning of emotion in the digital age, when the line between suicidal angst and quotidian frustrations is increasingly blurred. Projected into a smoke filled glass cube the words of a 1000 individuals crying out to their networks can be seen to float momentarily in space then disappear in a fleeting moment of connection. 1000 Broken Hearts builds on a series of data artworks that enquire into the emotional valence of text in networked spaces.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://miscellanea.com/artworks/1000-broken-hearts/">Description from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_brokenHearts
Title
A name given to the resource
1000 Broken Hearts
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Language
A language of the resource
English
Description
An account of the resource
<strong>Artist Statement</strong> <br />On the Internet, a heart breaks every 4 seconds.1000 Broken Hearts was an installation presented at Oxford Act Factory in October 2013 as part of the City of Sydney's Art and About. It reconfigures the last thousand heartbreaks from the Internet hive-mind as spectral projections that dance and flicker at random intervals in three-dimensional space. It asks us to consider the nature and meaning of emotion in the digital age, when the line between suicidal angst and quotidian frustrations is increasingly blurred. Projected into a smoke filled glass cube the words of a 1000 individuals crying out to their networks can be seen to float momentarily in space then disappear in a fleeting moment of connection. 1000 Broken Hearts builds on a series of data artworks that enquire into the emotional valence of text in networked spaces.<br /><a href="http://miscellanea.com/artworks/1000-broken-hearts/">Source of Artist Statement</a>
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
Installation
New media
Twitter art
-
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8512435e6cfaaec5e8e2080c4527ad55
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3c5bb0d9d93d4d6c9b754b5afb3c6241
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Twitter/Coding algorithim
Work URL
The URL of the original work, included as an HTML link.
<a href="http://chrisrodley.com/2013/06/19/everything-is-going-to-be-ok/">http://chrisrodley.com/2013/06/19/everything-is-going-to-be-ok/</a>
Related Website 1
The URL of a related web page such as a YouTube clip or Vimeo, included as an HTML link.
<a href="http://miscellanea.com/artworks/everything-is-going-to-be-ok/">http://miscellanea.com/artworks/everything-is-going-to-be-ok/</a>
Related Website 2
The URL of a related web page such as a YouTube clip or Vimeo, included as an HTML link.
<a href="http://www.broadsheet.com.au/sydney/arts-and-entertainment/article/twitter-art-everything-going-be-ok">http://www.broadsheet.com.au/sydney/arts-and-entertainment/article/twitter-art-everything-going-be-ok</a>
Artist Statement
A statement about the work, as provided by the artist(s).
Millions of people are sharing their intimate secrets on social media. Every day, over 300 people across the globe will tweet 'don't leave me' to their significant others or try to reassure anxious loved ones by tweeting the words 'everything is going to be OK . Part of the 'Underbelly Arts Festival' on Sydney's Cockatoo Island in August 2013, Everything Is Going To Be OK addresses this unprecedented intrusion of private thoughts into the public sphere, and how the smallest details of our emotional lives are being appropriated and aggregated by remorseless, corporate-controlled data streams that come to mirror our hopes, fears and personalities. The work features projections of short form monologues and dialogues, constructed in real-time out of data from Twitter.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://chrisrodley.com/2013/06/19/everything-is-going-to-be-ok/">Description from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_everythingOk
Title
A name given to the resource
Everything Is Going To Be Ok
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Language
A language of the resource
English
Description
An account of the resource
<strong>Artist Statement</strong><br />Millions of people are sharing their intimate secrets on social media. Every day, over 300 people across the globe will tweet 'don't leave me' to their significant others or try to reassure anxious loved ones by tweeting the words 'everything is going to be OK . Part of the 'Underbelly Arts Festival' on Sydney's Cockatoo Island in August 2013, Everything Is Going To Be OK addresses this unprecedented intrusion of private thoughts into the public sphere, and how the smallest details of our emotional lives are being appropriated and aggregated by remorseless, corporate-controlled data streams that come to mirror our hopes, fears and personalities. The work features projections of short form monologues and dialogues, constructed in real-time out of data from Twitter.<br /><a href="http://chrisrodley.com/2013/06/19/everything-is-going-to-be-ok/">Source of Artist Statement</a>
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Algorithmic realtime data reinterpretation
Andrew Burrell
Chris Rodley
Installation
New media
Twitter art
-
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4418dea2d5c8fe3beb510647a0ea5580
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f3a4b180b05bb415102a846fde7eceb4
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Social Media
Work URL
The URL of the original work, included as an HTML link.
<a href="http://chrisrodley.com/2014/02/25/b-e-t-t-y/">http://chrisrodley.com/2014/02/25/b-e-t-t-y/</a>
Related Website 1
The URL of a related web page such as a YouTube clip or Vimeo, included as an HTML link.
<a href="http://miscellanea.com/artworks/b-e-t-t-y/">http://miscellanea.com/artworks/b-e-t-t-y/</a>
Artist Statement
A statement about the work, as provided by the artist(s).
When ELIZA, the world's first chatbot, was born in the 1960s, users were startled at how much the psychotherapist in the program resembled a human. Since then, chatbots have become increasingly sophisticated; some predict that a computer will pass the Turing test of successfully impersonating a human within the next decade. But in the age of Big Data, does it make sense to say that bots are imitating us? Many already are us, constituted from the thoughts and emotions we share every day online.
B.E.T.T.Y. seeks to draw attention to the ghost in the machine of AI the humans who unwittingly control the wonderful Wizard of Oz from behind the curtain, and crouch inside the Mechanical Turk. Audience members are invited to share their private thoughts with an entity created by data-mining millions of social media messages in real time. Is artificial intelligence really so artificial after all? And do these cyborgian interlocutors lend us an empathetic ear, or cold comfort?
B.E.T.T.Y. was a new media installation for the Art Gallery of New South Wales Society Contempo series exhibition in February 2014.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://chrisrodley.com/2014/02/25/b-e-t-t-y/">Excerpt from author's website</a>
Genre
Networked new media installation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_BETTY
Title
A name given to the resource
B.E.T.T.Y.
Creator
An entity primarily responsible for making the resource
Rodley, Chris
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Language
A language of the resource
English
Description
An account of the resource
<strong>Artist Statement</strong><br />When ELIZA, the world's first chatbot, was born in the 1960s, users were startled at how much the psychotherapist in the program resembled a human. Since then, chatbots have become increasingly sophisticated; some predict that a computer will pass the Turing test of successfully impersonating a human within the next decade. But in the age of Big Data, does it make sense to say that bots are imitating us? Many already are us, constituted from the thoughts and emotions we share every day online.<br />B.E.T.T.Y. seeks to draw attention to the ghost in the machine of AI the humans who unwittingly control the wonderful Wizard of Oz from behind the curtain, and crouch inside the Mechanical Turk. Audience members are invited to share their private thoughts with an entity created by data-mining millions of social media messages in real time. Is artificial intelligence really so artificial after all? And do these cyborgian interlocutors lend us an empathetic ear, or cold comfort? B.E.T.T.Y. was a new media installation for the Art Gallery of New South Wales Society Contempo series exhibition in February 2014.<br /><a href="http://chrisrodley.com/2014/02/25/b-e-t-t-y/">Source of Artist Statement</a>
Rights
Information about rights held in and over the resource
Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Andrew Burrell
Chris Rodley
Installation
Interactive Text
New media
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7ff2a93013c812e19d94373ded56369d
http://sstars.ws/files/original/27e103cc8ce91f4e7c64c951d74d5fe9.png
791dd49aa88a0a1609866f1bcfb9a15a
ADELTA Item
Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).
Work URL
The URL of the original work, included as an HTML link.
<a href="http://iuxta.cc/">http://iuxta.cc/</a>
Artist Statement
A statement about the work, as provided by the artist(s).
IUXTA investigates the narrative possibilities of the network. IUXTA generates a user generated, augmented reality network will evolve across world. I invite you to participate in this multi-nodal narrative, a narrative that is always in a flux of fragmentation and recombination. Chapter 1 was presented as part of ISEA 2013 and now Chapter 2 begins to evolve centered around Adelaide and ISMAR 2013. In IUXTA I ask you to help spread and embed my own personal and historical narrative into the physical world around us. Over time, this narrative will proliferate according to its own inner logic. You can use the IUXTA mobile viewer to observe and listen to the narrative's current state in real time and in relation to your own physical location. You can also use the IUXTA web app not available on mobile devices) to explore a simulation of the narrative network. Physical locations where narrative nodes are concentrated are marked but not labeled. The IUXTA app is now available on the app store and the Google play store.
Source of Artist Statement
The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.
<a href="http://iuxta.cc/">IUXTA Project website</a>
Genre
Locative art
Platform
Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime
Mobile app/Web app
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
Rodley_Burrell_IUXTA
Title
A name given to the resource
IUXTA
Creator
An entity primarily responsible for making the resource
Burrell, Andrew
Date
A point or period of time associated with an event in the lifecycle of the resource
2013
Language
A language of the resource
English
Rights
Information about rights held in and over the resource
Copyright Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
Description
An account of the resource
<strong>Artist Statement</strong><br />IUXTA investigates the narrative possibilities of the network. IUXTA generates a user generated, augmented reality network will evolve across world. I invite you to participate in this multi-nodal narrative, a narrative that is always in a flux of fragmentation and recombination. Chapter 1 was presented as part of ISEA 2013 and now Chapter 2 begins to evolve centered around Adelaide and ISMAR 2013. In IUXTA I ask you to help spread and embed my own personal and historical narrative into the physical world around us. Over time, this narrative will proliferate according to its own inner logic. You can use the IUXTA mobile viewer to observe and listen to the narrative's current state in real time and in relation to your own physical location. You can also use the IUXTA web app not available on mobile devices) to explore a simulation of the narrative network. Physical locations where narrative nodes are concentrated are marked but not labeled. The IUXTA app is now available on the app store and the Google play store.<br /><a href="http://iuxta.cc/">IUXTA Project website</a>
Subject
The topic of the resource
Algorithmic realtime data reinterpretation
New media
Algorithmic realtime data reinterpretation
Andrew Burrell
New media