The LMS IRL: Strangers in the Classroom

Artist Series Three: Pattern Recognition, Interview with Martin Zeilinger

This summer I came across an exhibition at InterAccess Toronto, titled Pattern Recognition featuring the works of five artists based in the UK, Canada, Italy and the US, who used emerging technologies to engage with pressing digital issues. These included: the commodification of cyberspace, pervasive surveillance, artificial intelligence, and automation. I was curious to see what questions these artists were raising about contemporary digital culture and how their installations would generate a fresh perspective on these complex topics.

As I entered the gallery, the sound of Jordan Shaw’s piece, “Habitual Instinct,” caught my attention. An array of wall-mounted mechanical cameras with moving heads spanned one of the gallery walls. The googly-eyed cameras sometimes moved in unison, sometimes on their own, turning the gaze back onto gallery visitors. The cameras had an anthropomorphic quality and sounded like mechanized cicadas. It seemed that the cameras were capturing data about the space of the gallery, although how the information was being used, stored, and interpreted was unclear. A screen with a cloud of floating white points above the cameras represented a cluster of collected data. The data presented itself in real time within the gallery space, although the link between the visitor’s actions and the changing data simulation was vague. Seeking clarification, I spoke to Jordan about the piece and he explained that his interest in how we interact with autonomous systems as well as how digital representations change our sense of self. While machines quietly monitor, scan, and interpret our movements, Shaw’s work brought this everyday occurrence into a dramatic light. Additionally, the never-ending scanning and documentation of the mass of mechanized eyes was unsettling.

UK artist Henry Driver’s work entitled “Simulate to Sell,” which involved video and an interactive game, offered a contemplative response to the hyper-commodification of the Internet. Two wall-mounted monitors hung side-by-side, one screen displaying a Shutterstock video simulation of the 9/11 attacks being played on a loop, the other featuring a nocturne world that visitors could navigate using a controller. The piece examining the monetization of tragedy showed how these images circulate on the internet.

To quote Driver:

“The simulation which is presented is no longer an image of remembrance but an image of digital commercialism. I believe this to be a shocking example of the pressing contemporary issues with the transference and selling of data which is ingrained within our digital society. Not only is our personal information hoarded, distributed and sold for advertising through social media and tracking cookies, but tragic society changing events such as 9/11 are simulated, distributed and sold too.”

Driver’s piece responded to this by creating an interactive 3D space created from simulated 9/11 stock photography. While the 9/11 images filled the virtual space, its abstract nature pointed to the fluidity and malleability of digital images, meaning-making, and truth. Driver transformed this virtual reality beyond recognition, yet it felt much more connected to tragedy. As a melancholic meditative space for reflection, it contrasted itself with the fast, cheap, ever-looping Shutterstock images. Beyond the specific event, this work raised questions about how the Internet monetizes our own images and experiences.

Another artist, Samantha Fickel, contributed a kinetic sculpture, which involved a flat screen monitor lying on the floor with a strong light above it, which generated heat and a burning effect on the screen, asking viewers to consider what it meant for machines to sense and react to their environment. This sculpture, however, examined emerging patterns that physical interactions between hardware components cause. The blistering screen reminded the viewer of the sensitivity and materiality of our digital objects with the screen appearing as a skin-like membrane. On her website, Fickel described her interest in the interaction between physical and digital worlds, commenting that the line between these has become harder to see, “as we incorporate technology deeper into our daily lives… My installations question what it means to live in a world where our digital lives are seamlessly interwoven into our everyday realities.”  The posture of the screen resembled an injured body with a painful heat-inflicted wound, the position of the light hanging above it reminiscent of an operating table.

 

Next, a small darkened room featured a video work entitled “Watching Blade Runner” by Vancouver-based artist Ben Bogart. The piece attempted to show a view of the world through the eyes of an artificial intelligence being. To do this, Bogart processed a film, Blade Runner, (1982) to see what a cinematic work looked like after he digitally processed it. This is significant as algorithms filter so much of our social reality. The effect of Bogart’s piece was harsh and alien, the images and voices coming across as fragmented.

Finally, I looked at a virtual reality piece by Italian artist Molleindustria entitled “A Short History of the Gaze,” which explored the relationship between the gaze and violence.

To quote Molleindustria:

“From the evolution of sight in a pre-Cambrian sea creature to the dominance display of a primate, from a landscape of billboards begging for attention to an infinite panopticon, the player traverses and affects the virtual scenes by simply looking (or not looking) at things.”

The work challenges our relationship to mediated ways of seeing. It also forced the viewer to acknowledge that to witness events as they unfold is a choice—to look or to look away. The piece transported me into a series of different environments. Here, I engaged with the space by fixing my gaze on objects that allowed me to move through levels into different virtual worlds. For example, in one of the scenes set within an elevator, by looking at the people in the space, my gaze removed their clothes. In another scene, my gaze “killed” unknowing humans. I found myself executing characters in a detached way, which reminded me of the state of drone warfare where people can be killed based on metadata collected about them.

I found all of the works in this show to be thought-provoking and evocative, bringing about emotional and contemplative approaches to problems of technological mediation. It raised questions such as: what does it mean to see like a machine? How do artificial intelligences perceive their surroundings and make sense of narratives about AI? Is the social and political meaning of images lost when such images are simulated and commodified?

I’d like to conclude with some further questions for Digital Tattoo visitors: how do these art works relate to patterns you observe in your own digital experiences? Do you feel culpable, and responsible for what you view and share on the internet? Are you concerned with how your movements are turned into data points and analyzed by your smart phone? Are you worried about the future of AI and how machines perceive the world? We’d be happy to hear any comments or reflections you may have.

 

The Artist Series Two: iSquare Protocol

Artist Series Two: iSquare Protocol, What is Information?

An interview with Jenna Hartel @ the iSchool, University of Toronto

 

This past spring, an exhibition called REWIRED: ART X BISSEL opened within the iSchool’s Bissel building which stems of the main Robarts building. The exhibition features the work of artists whose work focuses on the intersections between people, digital technology and information. The exhibition connects contemporary artist’s responses, including works by Tobias Williams, Adrienne Crossman, Connor Buck, Robbie Sinclair, Jessica Zhou, Tabitha Chan and Brandon Dalmer with research, showcasing the qualitative, arts-based research project called the iSquare Protocol, run by Dr. Hartel and her research team. A display-case with drawings collected from around the world can be found on the fourth-floor foyer. The iSquare Research Program is a study that uses drawing as a way of investigating the concept of information, a word that can be confusing, nebulous and vague. Dr. Hartel decided that an arts-informed approach would bring great insight to her field of research. The study asks the questions:

 

1) How do people visualize the concept of information?

2) How do visual conceptions of information differ among various populations?

3)  How do these images relate to conceptions of information made of words?

 

I was fortunate to participate in this study during my first semester as a graduate student in Foundations of Library Information Studies, taught by Dr. Hartel. As a part of this class, students collected iSquare drawings, analyzed them, and responded with writing and our own creative responses. (The methodology, explained in greater detail here and in the video above). As a student with a background in the arts, realizing that drawing could be considered a valid, and even valuable, way of studying a concept was exciting. I had long known from personal experience that drawing and painting was a vital way of processing and communicating information and experience, yet this incredibly rewarding practice tends to be limited to those with training, technical comfort in some artistic medium. I loved that Hartel’s study invites non-professionals to engage in this process of communication and exchange through art and furthermore, was being taken seriously in an academic context.

Our class divided itself into three groups; each would study a different topic. Dr. Hartel had expanded her research, asking students to choose from three possible subjects, which were “information,” “librarian” and “internet.” I opted to join team internet.  I was curious to see the ways that participants would depict something as massive, and hard to grasp as the internet. I wanted to see how others conceptualized the internet, something I relied upon every day but had little-grounded understanding of how it functions. Here are a few of the “internet” iSquare drawings:

This drawing depicts a dark mysterious cloud with giant limbs encircling the earth. The internet is of massive proportions, powerful and unknowable. Many of the drawings touched on the unknown in their illustrations. The 18 year old male who made this drawing said “ The internet is this vast, dark void that is continually growing and can never be fully explored yet it controls our entire existence on earth.” The sense of helplessness, and the lack of human proportion in this response is unsettling.

Other illustrations focused on a more human scale, but still presented bizarre conceptions of the internet. The 25 year old female participate explained her illustration this way: “It’s a window like, square shaped thing.” The drawing communicates so much more than the statement. The square window acts as an intermediary structure connecting the mouth of one subject through to the forehead of a masked, disguised other. The tree stemming of the central square in the center softens an otherwise disturbing image. Lacking humanizing facial features, the bodies seem to be hooked up to the machinery of the internet, neither the “speaker” nor the “recipient” appear to be active, and neither are directly engaging with one an another.

This drawing, more positive than the last one shows the connectivity of the internet. The 53-year-old female participant says “My drawing is meant to illustrate how the internet connects us to information, ideas, bureaucracies, and other people.” This abstract drawing is active, dynamic with more fluid and mutual relationships between its varying parts.

Dr. Hartel’s research affirms that the perspectives of broad publics matters. Her approach to researching information had a beautiful social component which, on top of its impressive archive of drawings, left traces that were undocumented. These traces were the conversations between researchers and participants about big concepts that were initiated by a contemplative drawing exercise. The squares expose visual metaphors, affective responses, presented in short period of time. The squares revealed attitudes, the ways that individuals relate to the systems that we rely so heavily upon, systems that often perplex and overwhelm us while having such a great bearing on how we live our contemporary lives.

After interviewing Dr. Hartel for Digital Tattoo, she introduced me to the Handbook of Arts in Qualitative Research By Sandra Weber. Her writing outlines how, over the last few decades of the 20th century, qualitative researchers in the social sciences began to pay serious attention to the use of images as a way of enhancing understanding of the human condition. The handbook offers a list of ten good reasons that answer the question: “Why use arts-related visual images in research?” These good ideas were so good that I wanted to share them here. Images can be used to capture the ineffable, the hard-to-put-into-words

 

Images can make us pay attention to things in new ways.

  1. Images are likely to be memorable, as images elicit emotional as well as intellectual responses.
  2. Images can be used to communicate more holistically, incorporating multiple layers, and evoking stories or questions
  3. Images can enhance empathetic understanding and generality.
  4. Through metaphor and symbol, artistic images can carry theory elegantly, and eloquently
  5. Images encourage embodied knowledge
  6. Images can be more accessible than more forms of academic discourse
  7. Images can facilitate reflexivity in research design.
  8. Images provoke action for social justice.

Asking the question, “what is the internet” required participants to consider their relationship to technology in a new way, gaining a different perspective through the exercise which requires participants to gain some thoughtful distance from something as ubiquitous as the internet. To quote Weber once more: “An image can be a multi-layered theoretical statement, simultaneously positing even contradictory propositions for us to consider, pointing to the fuzziness of logic and complex paradoxical nature of particular human experiences.” This statement about the potential of images was realized in the study. People’s drawings of the internet conveyed multiple meanings, positive, negative, concrete and abstract. Opening up broad discussion around what the internet is, what information is and how we relate to these subjects is a first step in becoming knowledgeable, engaged social participants. Dr. Hartel’s research is an example of how academic research can break down boundaries between art and academic research, as it engages communities in an inviting, playful way. Her research is building aesthetic, social knowledge through representations, symbols, and conversations.

Weber, S. (2008). CHAPTER 5. USING VISUAL IMAGES IN RESEARCH. In HANDBOOK OF THE ARTS IN QUALITATIVE RESEARCH: PERSPECTIVES, METHODOLOGIES, EXAMPLES, AND ISSUES (pp. 1-18). London: Sage Press.