From 4045f051219d15e0b562385c27448d0cc654f595 Mon Sep 17 00:00:00 2001 From: Ruben van de Ven Date: Fri, 31 Jan 2020 19:44:17 +0100 Subject: [PATCH] More info and prep for pagerank --- .gitmodules | 3 ++ .htaccess | 8 ++- assets/image/guest_worker02.jpg | 4 +- assets/js/rubenvandeven.jsonld | 2 +- assets/thumb/guest_worker02.jpg | 4 +- index.html | 5 ++ ranking/.gitignore | 2 + ranking/PageRank | 1 + ranking/jsonld_ranking.py | 94 +++++++++++++++++++++++++++++++++ ranking/requirements.txt | 2 + rubenvandeven.jsonld | 53 ++++++++++++++----- 11 files changed, 159 insertions(+), 19 deletions(-) create mode 100644 .gitmodules create mode 100644 ranking/.gitignore create mode 160000 ranking/PageRank create mode 100644 ranking/jsonld_ranking.py create mode 100644 ranking/requirements.txt diff --git a/.gitmodules b/.gitmodules new file mode 100644 index 0000000..baceaf7 --- /dev/null +++ b/.gitmodules @@ -0,0 +1,3 @@ +[submodule "ranking/PageRank"] + path = ranking/PageRank + url = https://github.com/ashkonf/PageRank diff --git a/.htaccess b/.htaccess index 7f720ea..8e65ff5 100644 --- a/.htaccess +++ b/.htaccess @@ -18,12 +18,16 @@ RewriteRule "^exhibition/mood_swings$" "index.html" RewriteRule "^exhibition/route-du-nord$" "index.html" RewriteRule "^exhibition/stateofemotion$" "index.html" RewriteRule "^exhibition/the-new-current$" "index.html" +RewriteRule "^eye-without-a-face$" "index.html" +RewriteRule "^eye-without-a-face/video$" "index.html" RewriteRule "^festival/statefestival$" "index.html" RewriteRule "^guest-worker$" "index.html" RewriteRule "^guest-worker/image/1$" "index.html" RewriteRule "^guest-worker/image/2$" "index.html" RewriteRule "^guest-worker/image/3$" "index.html" -RewriteRule "^guest-worker/video/1$" "index.html" +RewriteRule "^guest-worker/report$" "index.html" +RewriteRule "^guest-worker/video/outcome$" "index.html" +RewriteRule "^guest-worker/video/process$" "index.html" RewriteRule "^heartbeat$" "index.html" RewriteRule "^heartbeat/image/1$" "index.html" RewriteRule "^in4art-salon$" "index.html" @@ -64,6 +68,7 @@ RewriteRule "^venue/tivoli$" "index.html" RewriteRule "^venue/zoho$" "index.html" RewriteRule "^workshop/plotting-data-das-theatre$" "index.html" RewriteRule "^workshop/plotting-data-onomatopee$" "index.html" +RewriteRule "^www$" "index.html" RewriteRule "^@type/Event$" "index.html" RewriteRule "^@type/Report$" "index.html" RewriteRule "^@type/VideoObject$" "index.html" @@ -79,3 +84,4 @@ RewriteRule "^@type/EventVenue$" "index.html" RewriteRule "^@type/Museum$" "index.html" RewriteRule "^@type/PerformingGroup$" "index.html" RewriteRule "^@type/CollegeOrUniversity$" "index.html" +RewriteRule "^@type/WebSite$" "index.html" diff --git a/assets/image/guest_worker02.jpg b/assets/image/guest_worker02.jpg index 9b5b124..9670f1e 100644 --- a/assets/image/guest_worker02.jpg +++ b/assets/image/guest_worker02.jpg @@ -1,3 +1,3 @@ version https://git-lfs.github.com/spec/v1 -oid sha256:4e58938b9a47ea5ca37bfaa21f48d8183156434cfa6e8bced5dab9521b3c4202 -size 439335 +oid sha256:6349be3cc85c03dd4f1a7430f48e09f4ffce08d9c506b85e1c9b1c91b94b91d9 +size 281545 diff --git a/assets/js/rubenvandeven.jsonld b/assets/js/rubenvandeven.jsonld index 390e3e3..aa80d21 100644 --- a/assets/js/rubenvandeven.jsonld +++ b/assets/js/rubenvandeven.jsonld @@ -1 +1 @@ -{"@graph":[{"@id":"_:b0","@type":"https://schema.org/Course","https://schema.org/addressLocality":"Rotterdam","https://schema.org/attendee":{"@id":"https://rubenvandeven.com/"},"https://schema.org/educationalCredentialAwarded":"Master of Arts","https://schema.org/name":"MA - Media Design and Communication","https://schema.org/provider":{"@id":"https://rubenvandeven.com/university/piet-zwart"},"https://schema.org/temporalCoverage":"2014-2016"},{"@id":"_:b1","@type":"https://schema.org/Course","https://schema.org/addressLocality":"London","https://schema.org/attendee":{"@id":"https://rubenvandeven.com/"},"https://schema.org/educationalCredentialAwarded":"Master of Arts","https://schema.org/name":"MA - Creative Design for Digital Cultures","https://schema.org/provider":"The Open University","https://schema.org/temporalCoverage":"2012-2013"},{"@id":"_:b10","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/moodmeter1-1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/moodmeter1-1.jpg"},{"@id":"_:b100","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/pillow_talk03.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/pillow_talk03.jpg"},{"@id":"_:b101","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/person/ward-goes"},"https://schema.org/contributor":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2013-12-04","https://schema.org/description":"Originally initiated as a graduation project (cum laude) by Ward Goes, The Spectacular Times is an ongoing visual inquiry into the presentation of news. 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For it, both orderings are just as logical. However, for the human spectator the reordered display of frames becomes a disruptive process. The human is positioned as a required agent for meaning making in an algorithmic procedure.\n\nIn collaboration with Cristina Cochior I went manually through the Eye's public collection, and catalogued faces by surrendering them to an emotion detection algorithm. 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Voice assistants who take over the job interview. Predicting the perfect candidate for a vacancy. The possibilities of AI for recruitment and selection of employees seem endless. What does the future of this development look like? And how does AI facilitate - or frustrate - diversity in the labor market? Eight selected makers worked on this theme in four teams. From programmer to writer of historical novels, and from costume designer to cultural anthropologist.\nWith installations, performances and other works they make the social consequences of AI in the HR sector tangible. Because reading about it is one thing, but the consequences can only be felt if you yourself undergo an algorithmic interview. 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Over the past years the digitization of emotions is booming business: multimillion dollar investments are made in technologies of which is claimed that they give companies an objective view in their consumers' feelings. The video-game-artwork Emotion Hero challenges the user to investigate this claim and question the premise of the technology. Emotion Hero is a two-part artwork. On the one hand is a video-game that is freely downloadable for everybody with an Android device. Inspired by Guitar Hero, the user scores points by following given cues. It provides detailed feedback on the mechanics of the face. The second part is a projection that shows a grid with aggregated scores of the game, that updates live. In its design, the grid refers to 19th century positivist practices.","https://schema.org/isPartOf":["C&C '17 Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition",{"@id":"https://rubenvandeven.com/event/creativity-and-cognition"}],"https://schema.org/name":"Article - Emotion Hero","https://schema.org/pageEnd":"423","https://schema.org/pageStart":"422","https://schema.org/publisher":"ACM New York, NY, USA","https://schema.org/url":"https://doi.org/10.1145/3059454.3059490/"},{"@id":"_:b47","@type":"https://schema.org/Event","https://schema.org/about":{"@id":"https://rubenvandeven.com/article/choose-how-you-feel-you-have-seven-options"},"https://schema.org/endDate":"2019-06-08","https://schema.org/location":"Doornroosje, Rotterdam","https://schema.org/name":"Presentation @ Act Natural 04","https://schema.org/organizer":"Jeisson 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In collaboration with Cristina Cochior I am exploring the concept of data dramatisations, as an opposite to data visualisations. Rather than aiming for the objective, we explore the affective & performative aspects of data gathering and processing.\n\nSustaining Gazes is a data dramatisation which looks at the role between the visualisation and its subject. A heatmap is generated by looking at it, which directly influences the looking. Areas which are looked at turn into interesting shapes, inviting even more observation. The pattern of looking is reinforced though its visualisation. 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Voice assistants who take over the job interview. Predicting the perfect candidate for a vacancy. The possibilities of AI for recruitment and selection of employees seem endless. What does the future of this development look like? And how does AI facilitate - or frustrate - diversity in the labor market? Eight selected makers worked on this theme in four teams. From programmer to writer of historical novels, and from costume designer to cultural anthropologist.\nWith installations, performances and other works they make the social consequences of AI in the HR sector tangible. Because reading about it is one thing, but the consequences can only be felt if you yourself undergo an algorithmic interview. 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Studying the structures and cultural impacts of our media technologies, it concentrated on the intricate and usually hidden aspects of EYE's extensive archive","https://schema.org/endDate":"2014-04-24","https://schema.org/location":{"@id":"_:b41"},"https://schema.org/name":"Boundaries of the Archive","https://schema.org/startDate":"2016-04-12","https://schema.org/url":"https://www.eyefilm.nl/film/boundaries-of-the-archive-research-lab-piet-zwart-institute","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/eye-without-a-face"}},{"@id":"_:b41","@type":"https://schema.org/Museum","https://schema.org/address":"Amsterdam","https://schema.org/name":"EYE Film Museum"},{"@id":"_:b42","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/eye_0-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/eye_0-2.jpg"},{"@id":"_:b43","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/eye_3-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/eye_3-2.jpg"},{"@id":"_:b44","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/eye_6-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/eye_6-2.jpg"},{"@id":"_:b45","@type":"https://schema.org/ScholarlyArticle","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/datePublished":"2017-01-27","https://schema.org/description":"What does it mean to feel 62% joy, and 15% surprised? Over the past years the digitization of emotions is booming business: multimillion dollar investments are made in technologies of which is claimed that they give companies an objective view in their consumers' feelings. The video-game-artwork Emotion Hero challenges the user to investigate this claim and question the premise of the technology. Emotion Hero is a two-part artwork. On the one hand is a video-game that is freely downloadable for everybody with an Android device. Inspired by Guitar Hero, the user scores points by following given cues. It provides detailed feedback on the mechanics of the face. The second part is a projection that shows a grid with aggregated scores of the game, that updates live. In its design, the grid refers to 19th century positivist practices.","https://schema.org/isPartOf":["C&C '17 Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition",{"@id":"https://rubenvandeven.com/event/creativity-and-cognition"}],"https://schema.org/name":"Article - Emotion Hero","https://schema.org/pageEnd":"423","https://schema.org/pageStart":"422","https://schema.org/publisher":"ACM New York, NY, USA","https://schema.org/url":"https://doi.org/10.1145/3059454.3059490/"},{"@id":"_:b46","@type":"https://schema.org/Event","https://schema.org/about":{"@id":"https://rubenvandeven.com/article/choose-how-you-feel-you-have-seven-options"},"https://schema.org/endDate":"2019-06-08","https://schema.org/location":"Doornroosje, Rotterdam","https://schema.org/name":"Presentation @ Act Natural 04","https://schema.org/organizer":"Jeisson 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The first part displays the Mind Reading Emotions Library, an interactive collection of videos, audio fragments and scenes depicting 412 distinct emotions —ranging from `angry' to `unsure'— grouped in 24 categories. The second part of the project is a tablet with a modified demo app by Affectiva, a major player in the field of emotion analysis software. This app acts as an interactive mirror which displays the various parameters that the Affectiva software derives from someone's facial expression, while a voice over reads a text extracted from the Dutch classic Beyond Sleep by W.F. Hermans (1966), concerning the impact of the mirror, photography and video on the human self-image.","https://schema.org/image":[{"@id":"_:b66"},{"@id":"_:b67"}],"https://schema.org/name":"We know how you feel"},{"@id":"_:b65","@type":"https://schema.org/ExhibitionEvent","https://schema.org/description":"What is an encyclopedia? What are media? What is an object? Students of the Piet Zwart Institute Media Design Masters programme invite you to look at these issues. Twelve installations and one choreography present a taxonomy of disappearing, human and non-human, introvert and collected media objects.\n\nThis exhibition was developed in a 'Thematic Seminar' run in the summer trimester 2015 taught by Florian Cramer.\n\nArtists: Lucas Battich [IT], Manetta Berends [NL], Julie Boschat Thorez [FR], Cihad Caner [TR], Joana Chicau [PT], Cristina Cochior [RO], Solange Frankort [NL], Arantxa Gonlag [NL], Anne Lamb [US], Benjamin Li [NL], Yuzhen Tang [CN], Ruben van de Ven [NL] & Thomas Walskaar [NO]","https://schema.org/endDate":"2015-06-27","https://schema.org/location":{"@id":"https://rubenvandeven.com/organisation/v2_"},"https://schema.org/name":"An Encyclopedia of Media Objects","https://schema.org/startDate":"2015-06-26","https://schema.org/url":"http://v2.nl/events/an-encyclopedia-of-media-objects","https://schema.org/workFeatured":{"@id":"_:b64"}},{"@id":"_:b66","@type":"https://schema.org/ImageObject","https://schema.org/caption":"We know how you feel","https://schema.org/contentUrl":"/assets/image/we_know_how_you_feel.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/we_know_how_you_feel.jpg"},{"@id":"_:b67","@type":"https://schema.org/ImageObject","https://schema.org/caption":"Mind Reading Emotions Library","https://schema.org/contentUrl":"/assets/image/we_know_how_you_feel-3.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/we_know_how_you_feel-3.jpg"},{"@id":"_:b68","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2015-01-01","https://schema.org/description":"In western society, images are generally perceived as objective traces of events. 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Each interviewee was shown one of the images, in an attempt to highlight how we read events trough photographs.\n\nIt considers an event not as a single factual moment, but as the cumulative of subjective experiences, inherently proposing that an image is always lacking in its representation of that which it presents.","https://schema.org/image":[{"@id":"_:b69"},{"@id":"_:b70"},{"@id":"_:b71"}],"https://schema.org/name":"Fragments of reality"},{"@id":"_:b69","@type":"https://schema.org/ImageObject","https://schema.org/caption":"Fragments of reality","https://schema.org/contentUrl":"/assets/image/fragments-6-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/fragments-6-2.jpg"},{"@id":"_:b7","@type":"https://schema.org/EventVenue","https://schema.org/name":"Fokker Terminal"},{"@id":"_:b70","@type":"https://schema.org/ImageObject","https://schema.org/caption":"Fragments of reality","https://schema.org/contentUrl":"/assets/image/fragments-9-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/fragments-9-2.jpg"},{"@id":"_:b71","@type":"https://schema.org/ImageObject","https://schema.org/caption":"Fragments of reality","https://schema.org/contentUrl":"/assets/image/fragments-7-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/fragments-7-2.jpg"},{"@id":"_:b72","@type":"https://schema.org/Movie","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2013","https://schema.org/description":"Adam is security guard at a nursing home with comatose patients. 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Days of Water is a story on guilt and shame; and on a longing for hope.\nI wrote and directed this film for my graduation as film director for fiction at the Utrecht School of the Arts.\nIt was accompanied by my MA research on spectatorial emotion and the influence emotions on the spectator's sympathy for the protagonist.","https://schema.org/image":[{"@id":"_:b75"},{"@id":"_:b76"}],"https://schema.org/name":"Waterdagen"},{"@id":"_:b73","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2014-05","https://schema.org/location":{"@id":"_:b74"},"https://schema.org/name":"High Desert International Film Festival ","https://schema.org/startDate":"2014-05","https://schema.org/url":"http://routedunord.nl/portfolio-item/ruben-van-de-ven-2/","https://schema.org/workFeatured":{"@id":"_:b72"}},{"@id":"_:b74","@type":"https://schema.org/Festival","https://schema.org/address":"Pahrump, Nevada","https://schema.org/name":"High Desert International Film Festival "},{"@id":"_:b75","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/waterdagen-teaser.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/waterdagen-teaser.jpg"},{"@id":"_:b76","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/waterdagen1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/waterdagen1.jpg"},{"@id":"_:b77","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2012","https://schema.org/description":"For the visitors of the Crossing Border festival in The Hague we desgined an installation to collaboratively contribute to a poem.\nBased on the input of the user, a sentence is added to the poem, originating from digitalised texts of artists participating in the festival.\nThe text was combined with an audiovisual presentation that changed depending on the user's input.","https://schema.org/image":{"@id":"_:b80"},"https://schema.org/name":"Co-Poet","https://schema.org/url":"http://projectkaleido.nl/#copoet"},{"@id":"_:b78","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2012-11-17","https://schema.org/location":{"@id":"_:b79"},"https://schema.org/name":"Crossing Border","https://schema.org/startDate":"2012-11-14","https://schema.org/workFeatured":{"@id":"_:b77"}},{"@id":"_:b79","@type":"https://schema.org/PerformingArtsTheater","https://schema.org/address":"Leiden","https://schema.org/name":"Leidse Schouwburg"},{"@id":"_:b8","@type":"https://schema.org/ExhibitionEvent","https://schema.org/description":"(NL) Het internet is stuk. Hoe kunnen we het weer repareren? Daarover vertelt Marleen Stikker, auteur van Het internet is stuk, op 23 januari tijdens de Privacyrede 2020. Met de 50e verjaardag van het internet is dit hét moment om terug te blikken en vooruit te kijken.","https://schema.org/endDate":"2020-01-23","https://schema.org/location":{"@id":"https://rubenvandeven.com/venue/tivoli"},"https://schema.org/name":"Privacyrede 2020: the internet is broken","https://schema.org/startDate":"2020-01-23","https://schema.org/url":"https://www.tivolivredenburg.nl/agenda/privacyrede-2019-16-01-2019/","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/guest-worker"}},{"@id":"_:b80","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/copoet1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/copoet1.jpg"},{"@id":"_:b81","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2012","https://schema.org/description":"The Colour of Blue. A diptych about two Tanzanians: a miner and a lobster fisher. How do they live, work and survive; and how do they see their own future? Each of the two men is in his own way depending on nature, everyday gambling for a good catch.\nThis documentary was shot complementary to our work at the Kilimanjaro Film Institute in Arusha.\nDocumentary, 14′42″. The full film is available on Youtube.","https://schema.org/image":[{"@id":"_:b82"},{"@id":"_:b83"}],"https://schema.org/name":"Rangi Ya Samawati","https://schema.org/video":{"@id":"https://rubenvandeven.com/samawati/video"}},{"@id":"_:b82","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev2.jpg"},{"@id":"_:b83","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev1.jpg"},{"@id":"_:b84","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2010","https://schema.org/description":"A short HKU project on the future of social media, when it was still an upcomming phenomenon. 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  • Insurance companies give you discounts for monitoring a healthy lifestyle.
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  • Because it's cheap!
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Everybody tried to get away from there as quick as possible. Stuck were those with the electric Tesla Model S with the cheaper battery option (60kWh). Then, all of a sudden, Tesla send a software update to these cars. The cars could drive futher then ever before. Until 72 hours later, Tesla reversed the software update. Exactly the same car could drive shorter distances.\n\nThis is the business of software companies: just like Apple limits performance on old iPhones, Tesla used softare to limit the reach of its cars in order to make more money. While physically the exact same product, it can do less.\n\nMinimum Viable Product #2 brings this business model to the art world. It provides a limited edition of a drawing by Joseph Huot.","https://schema.org/height":"50cm","https://schema.org/image":[{"@id":"https://rubenvandeven.com/mvp2/image/1"},{"@id":"https://rubenvandeven.com/mvp2/image/2"},{"@id":"https://rubenvandeven.com/mvp2/image/3"}],"https://schema.org/name":"MVP#2 Joseph Huot's Limited Edition","https://schema.org/width":"32.5cm"},{"@id":"https://rubenvandeven.com/mvp2/image/1","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/mvp2-01.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/mvp2-01.jpg"},{"@id":"https://rubenvandeven.com/mvp2/image/2","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/mvp2-02.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/mvp2-02.jpg"},{"@id":"https://rubenvandeven.com/mvp2/image/3","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/mvp2-5.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/mvp2-5.jpg"},{"@id":"https://rubenvandeven.com/mvp3","@type":"https://schema.org/MediaObject","https://schema.org/artworkSurface":"Personalised print on perspex","https://schema.org/contributor":{"@id":"https://rubenvandeven.com/person/mikel-folgerts"},"https://schema.org/dateCreated":"2018","https://schema.org/description":"On YouTube, Instagram, and many other online platforms, celebrities get paid to place consumer products in their videos. Not prominently, but hidden in plain sight. Can precarious artists finance their work by employing this product placement?\n\nMinimum Viable Product #3 allows buyers to customise the work they bought —Rotterdam, by Mikel Folgerts—, linking the status of the artist to their product.","https://schema.org/height":"40cm","https://schema.org/image":{"@id":"https://rubenvandeven.com/mvp3/image/1"},"https://schema.org/name":"MVP#3 Customiseyour.art - Mikel Folgerts 1/3","https://schema.org/width":"40cm"},{"@id":"https://rubenvandeven.com/mvp3/image/1","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/mvp3-1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/mvp3-1.jpg"},{"@id":"https://rubenvandeven.com/mvps","@type":"https://schema.org/CreativeWorkSeries","https://schema.org/about":"November 2017 In4Art approached me to be part of their KickstART project. They commissioned three works to be part of their auction. The goal was to explicitly develop works that fitted the commercial art scene.\n\nRather than creating 'sellable' works myself, I took the start-up culture that forms the foundation of In4Art, as my object of my series. I augmented the works of three other participants with business models taken from the online/digital realm. This resulted in three Minimum Viable Products. Recontextualising these business models towards an arts context, results in new perspectives on both the arts as well as start-up culture.","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2018","https://schema.org/hasPart":[{"@id":"https://rubenvandeven.com/mvp1"},{"@id":"https://rubenvandeven.com/mvp2"},{"@id":"https://rubenvandeven.com/mvp3"}],"https://schema.org/name":"MVPs"},{"@id":"https://rubenvandeven.com/organisation/ccu","@type":"https://schema.org/Organization","https://schema.org/name":"Creative Coding Utrecht"},{"@id":"https://rubenvandeven.com/organisation/nsvp","@type":"https://schema.org/Organization","https://schema.org/name":"Nederlandse Stichting voor Psychotechniek","https://schema.org/url":"https://www.innovatiefinwerk.nl/"},{"@id":"https://rubenvandeven.com/organisation/setup","@type":"https://schema.org/Organization","https://schema.org/address":"Utrecht","https://schema.org/name":"Setup","https://schema.org/url":"https://www.setup.nl/"},{"@id":"https://rubenvandeven.com/organisation/v2_","@type":"https://schema.org/Place","https://schema.org/address":"Rotterdam","https://schema.org/name":"V2_"},{"@id":"https://rubenvandeven.com/panel/stateofemotion/video","@type":"https://schema.org/VideoObject","https://schema.org/embedUrl":"https://www.youtube.com/embed/L2O6ecO-8PM?start=2062","https://schema.org/thumbnailUrl":"https://i.ytimg.com/vi/L2O6ecO-8PM/maxresdefault.jpg"},{"@id":"https://rubenvandeven.com/person/cristina-cochior","@type":"https://schema.org/Person","https://schema.org/name":"Cristina Cochior","https://schema.org/url":"http://randomizer.info"},{"@id":"https://rubenvandeven.com/person/donald-schenkel","@type":"https://schema.org/Person","https://schema.org/name":"Donald Schenkel","https://schema.org/url":"http://www.donaldschenkel.nl/"},{"@id":"https://rubenvandeven.com/person/joseph-huot","@type":"https://schema.org/Person","https://schema.org/name":"Joseph Huot","https://schema.org/url":"http://www.joseph-huot.com/"},{"@id":"https://rubenvandeven.com/person/merijn-van-moll","@type":"https://schema.org/Person","https://schema.org/name":"Merijn van Moll","https://schema.org/url":"https://merijnvanmoll.nl/"},{"@id":"https://rubenvandeven.com/person/mikel-folgerts","@type":"https://schema.org/Person","https://schema.org/name":"Mikel Folgerts","https://schema.org/url":"https://www.instagram.com/mikelfolgerts/"},{"@id":"https://rubenvandeven.com/person/ward-goes","@type":"https://schema.org/Person","https://schema.org/name":"Ward Goes","https://schema.org/url":"http://www.wardgoes.nl"},{"@id":"https://rubenvandeven.com/place/in4art","@type":"https://schema.org/EventVenue","https://schema.org/address":"Amsterdam","https://schema.org/name":"In4Art Project Space"},{"@id":"https://rubenvandeven.com/place/q21","@type":"https://schema.org/Museum","https://schema.org/address":"MuseumsQuartier /Vienna","https://schema.org/name":"frei_raum / Q21"},{"@id":"https://rubenvandeven.com/plottingdata","@type":"https://schema.org/PerformingGroup","https://schema.org/description":"A research into Data Dramatisation as a tactic to make data visualisations more transparent in their underlying procedures of data collection. We advocate a form of data literacy that is not so much focussed on programming skill, but rather one that brings an understanding of data infrastructures: allowing for restistance against data driven governance.","https://schema.org/foundingDate":"2018","https://schema.org/member":[{"@id":"https://rubenvandeven.com/person/cristina-cochior"},{"@id":"https://rubenvandeven.com/"}],"https://schema.org/name":"Plotting Data: dramatisation as tactic","https://schema.org/url":"http://plottingd.at/a"},{"@id":"https://rubenvandeven.com/residency/summer-sessions","https://schema.org/subEvent":{"@id":"_:b25"}},{"@id":"https://rubenvandeven.com/samawati/video","@type":"https://schema.org/VideoObject","https://schema.org/contentUrl":"/assets/video/samawati.mp4","https://schema.org/encodingFormat":"video/mp4","https://schema.org/thumbnailUrl":"/assets/thumb/samawati.mp4.jpg","https://schema.org/videoFrameSize":"1280x1024"},{"@id":"https://rubenvandeven.com/spectacular-spectator-mood-meter","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2017","https://schema.org/description":"Commisioned by V2_ for Evening of the Black Box Concern. Researchers of digital culture often regard artificial intelligence as black boxes. However, developers of these systems often regard the humans that are analysed as black boxes.\n\nWhat happens when we use black boxes (AI) to analyse black boxes (humans) and present these back to black boxes (humans)?\n\nThis prototype used emotion recognition software by Affectiva to analyse the audience of the talks. It then highlighted the moments in the talks for which outliers in the data were found. Can we use this data to analyse either of the black boxes?","https://schema.org/image":[{"@id":"_:b10"},{"@id":"_:b11"},{"@id":"_:b12"},{"@id":"_:b13"}],"https://schema.org/name":"Spectacular Spectator Mood Meter","https://schema.org/producer":{"@id":"https://rubenvandeven.com/organisation/v2_"}},{"@id":"https://rubenvandeven.com/sustaining-gazes","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2018","https://schema.org/description":"In analytics and statistics, data visualisations, such as the heatmap, are used as tools bring forward patterns in data. These data visualisations, are often presented as objective tools of knowledge: data supposedly do not lie. What is often neglected however, are the subjective and political intricacies embedded within the datasets, and its method of visualisation. In collaboration with Cristina Cochior I am exploring the concept of data dramatisations, as an opposite to data visualisations. Rather than aiming for the objective, we explore the affective & performative aspects of data gathering and processing.\n\nSustaining Gazes is a data dramatisation which looks at the role between the visualisation and its subject. A heatmap is generated by looking at it, which directly influences the looking. Areas which are looked at turn into interesting shapes, inviting even more observation. The pattern of looking is reinforced though its visualisation. This cycle reveals both a hierarchy of power between algorithm and subject, as well as a point for intervention.","https://schema.org/image":[{"@id":"https://rubenvandeven.com/sustaining-gazes/image/1"},{"@id":"https://rubenvandeven.com/sustaining-gazes/image/2"}],"https://schema.org/name":"Sustaining Gazes"},{"@id":"https://rubenvandeven.com/sustaining-gazes/image/1","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/sustaining-gazes-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/sustaining-gazes-2.jpg"},{"@id":"https://rubenvandeven.com/sustaining-gazes/image/2","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/sustaining-gazes-1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/sustaining-gazes-1.jpg"},{"@id":"https://rubenvandeven.com/university/piet-zwart","@type":"https://schema.org/CollegeOrUniversity","https://schema.org/address":"Rotterdam","https://schema.org/name":"Piet Zwart Institute"},{"@id":"https://rubenvandeven.com/venue/cruise-terminal","@type":"https://schema.org/EventVenue","https://schema.org/address":"Rotterdam","https://schema.org/name":"Cruise Terminal"},{"@id":"https://rubenvandeven.com/venue/tivoli","@type":"https://schema.org/EventVenue","https://schema.org/name":"Tivoli Vredeburg"},{"@id":"https://rubenvandeven.com/venue/zoho","@type":"https://schema.org/EventVenue","https://schema.org/address":"Rotterdam","https://schema.org/name":"ZOHO"},{"@id":"https://rubenvandeven.com/workshop/plotting-data-das-theatre","@type":"https://schema.org/Event","https://schema.org/alternateName":"Plotting the Enron Corpus","https://schema.org/description":"As part of the series Broadcast from Babylon.","https://schema.org/endDate":"2018-02-21","https://schema.org/name":"Workshop @ DAS Theatre","https://schema.org/organizer":{"@id":"https://rubenvandeven.com/plottingdata"},"https://schema.org/startDate":"2019-02-21","https://schema.org/url":"https://netdem.nl/en/articles/bfb-cp-5-creative-coding-and-workshop-plotting-data/"},{"@id":"https://rubenvandeven.com/workshop/plotting-data-onomatopee","@type":"https://schema.org/Event","https://schema.org/alternateName":"Plotting Data: Function Creep in the Wild","https://schema.org/description":"Datasets form a basis on which a city is made readable and interpretable foralgorithms, such as the those that process the endless streams of information coming from the cameras and sensors that stand scattered throughoutEindhoven. In this workshop, we will get acquainted with various ways in which data is collected and imagined. Who is being collected and what are the (dis)advantages of being represented? After an introduction into the types of biases that are inherent to their creation, we will combine hands-on work with pre-made scripts and discuss ways in which fiction and performance play a role in seeing like a dataset.","https://schema.org/endDate":"2018-06-12 18:30","https://schema.org/location":"Onomatopee","https://schema.org/name":"Workshop @ Onomatopee","https://schema.org/organizer":{"@id":"https://rubenvandeven.com/plottingdata"},"https://schema.org/startDate":"2019-06-12 16:00","https://schema.org/url":"https://www.onomatopee.net/exhibition/eindhoven-footnotes/#agenda_9839"},{"@id":"https://rubenvandeven.com/www","@type":"https://schema.org/WebSite","http://www.w3.org/2000/01/rdf-schema#seeAlso":["https://rubenvandeven.com/rubenvandeven.jsonld","https://git.rubenvandeven.com/r/portfolio"],"https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/url":"https://rubenvandeven.com"}]} \ No newline at end of file diff --git a/assets/thumb/guest_worker02.jpg b/assets/thumb/guest_worker02.jpg index b52269e..8551260 100644 --- a/assets/thumb/guest_worker02.jpg +++ b/assets/thumb/guest_worker02.jpg @@ -1,3 +1,3 @@ version https://git-lfs.github.com/spec/v1 -oid sha256:1386c40ba82005fbc4ae417cd9645324f9f994e09b1fc2f3aa73d34d2016736b -size 1508 +oid sha256:54245b132eb4a6d4a7b74a016c7d39183586248901d58960ab844ee473178628 +size 2898 diff --git a/index.html b/index.html index 17b00fd..94d5e36 100644 --- a/index.html +++ b/index.html @@ -8,6 +8,11 @@ + diff --git a/ranking/.gitignore b/ranking/.gitignore new file mode 100644 index 0000000..928bcdc --- /dev/null +++ b/ranking/.gitignore @@ -0,0 +1,2 @@ +venv/ + diff --git a/ranking/PageRank b/ranking/PageRank new file mode 160000 index 0000000..a138d0e --- /dev/null +++ b/ranking/PageRank @@ -0,0 +1 @@ +Subproject commit a138d0edb53135e0c070b3f5cc4a5b0b37dc778e diff --git a/ranking/jsonld_ranking.py b/ranking/jsonld_ranking.py new file mode 100644 index 0000000..9f45b9e --- /dev/null +++ b/ranking/jsonld_ranking.py @@ -0,0 +1,94 @@ +from pyld import jsonld +import json + +import PageRank.pagerank as pagerank + +# use flattened jsonld +with open('../assets/js/rubenvandeven.jsonld', 'r') as fp: + contents = json.load(fp)['@graph'] + +linksPerItem = {} + +def addCount(fromId, toId, weight): + if fromId not in linksPerItem: + linksPerItem[fromId] = {} + if not toId in linksPerItem[fromId]: + linksPerItem[fromId][toId] = 0 + linksPerItem[fromId][toId] += weight + +def addLink(fromId, toId, weight = 1): + addCount(fromId, toId, weight) + addCount(toId, fromId, weight) + +for node in contents: + currentId = node['@id'] + for key, value in node.items(): + if type(value) == dict: + value = [value] + + if type(value) == list: + for link in value: + if not type(link) == dict: + # can be any other list, eg. list of urls + continue + + weight = 1 + if key == 'https://schema.org/author': + weight = 2 + elif key == 'https://schema.org/contributor': + weight = .5 + + # print(link) + linkedId = link['@id'] + addLink(currentId, linkedId) + + +targetMin = .7 +targetMax = 1.5 + +values = pagerank.powerIteration(linksPerItem) + +normalised = targetMin + (values - min(values)) * (targetMax-targetMin)/max(values) +print(json.dumps(dict(normalised))) +# +# factor = 1 / min(values) +# print(factor) +# normalised = values * factor +# normalised - + +# +# for(let nodeId in data) { +# let node = data[nodeId]; +# let currentId = node["@id"]; +# for(let key in node){ +# let nodeAttr = Array.isArray(node[key]) ? node[key] : [node[key]]; +# // // relations should always be lists (eases assumptions) +# // if(typeof node[key] !== "Array" && typeof node[key]['id'] !== "undefined") { +# // node[key] = [node[key]]; +# // } +# // every attribute is an Array after flatten(), loop them +# for(let i in nodeAttr) { +# if(key !== "@id" && typeof nodeAttr[i] === "string" && nodes[nodeAttr[i]]) { +# links[links.length] = { +# "source": currentId, +# "target": nodeAttr[i], +# "name": key +# }; +# } +# else if(typeof nodeAttr[i]["@id"] !== "undefined") { +# // if there is just one item, flatten/expand has turned urls in objects with just an id +# // reverse this, as we don't want these separate for this project +# if (Object.keys(nodeAttr[i]).length == 1 && typeof nodes[nodeAttr[i]["@id"]] === "undefined") { +# // skip +# // nodeAttr = nodeAttr[i]["id"]; +# } else { +# links[links.length] = { +# "source": currentId, +# "target": nodeAttr[i]["@id"], +# "name": key +# }; +# } +# } +# } +# } +# } diff --git a/ranking/requirements.txt b/ranking/requirements.txt new file mode 100644 index 0000000..2d0b0e5 --- /dev/null +++ b/ranking/requirements.txt @@ -0,0 +1,2 @@ +PyLD==1.0.5 +pandas diff --git a/rubenvandeven.jsonld b/rubenvandeven.jsonld index cc1a71d..c13ca48 100644 --- a/rubenvandeven.jsonld +++ b/rubenvandeven.jsonld @@ -5,9 +5,9 @@ "r": "https://rubenvandeven.com" }, "@type": "WebSite", - "@id": "r:#site", + "@id": "r:/www", "url": "https://rubenvandeven.com", - "s:seeAlso": [ "https://rubenvandeven.com/rubenvandeven.jsonld", "https://rubenvandeven.com/foaf.rdf#me"], + "s:seeAlso": [ "https://rubenvandeven.com/rubenvandeven.jsonld", "https://git.rubenvandeven.com/r/portfolio"], "author": { "@id": "r:/", @@ -199,14 +199,24 @@ "thumbnailUrl": "/assets\/thumb\/guest_worker03.jpg" } ], - "video": { - "@id": "r:/guest-worker/video/1", - "@type": "VideoObject", - "thumbnailUrl": "/assets\/thumb\/guest_worker04.jpg", - "contentUrl": "http://works.rubenvandeven.com/2019-guest_worker/guestworker-without-credits.mp4" , - "encodingFormat": "video/mp4", - "videoFrameSize": "1280x1024" - }, + "video": [ + { + "@id": "r:/guest-worker/video/outcome", + "@type": "VideoObject", + "thumbnailUrl": "/assets\/thumb\/guest_worker04.jpg", + "contentUrl": "http://works.rubenvandeven.com/2019-guest_worker/guestworker-without-credits.mp4" , + "encodingFormat": "video/mp4", + "videoFrameSize": "1920x1080" + }, + { + "@id": "r:/guest-worker/video/process", + "@type": "VideoObject", + "thumbnailUrl": "/assets\/thumb\/guest_worker05.jpg", + "contentUrl": "http://works.rubenvandeven.com/2019-guest_worker/GuestWorker.mp4" , + "encodingFormat": "video/mp4", + "videoFrameSize": "1920x1080" + } + ], "author": { "@id": "r:/person/merijn-van-moll", "@type": "Person", @@ -273,7 +283,7 @@ }, "startDate": "2020-01-23", "endDate": "2020-01-23", - "url": "https://ecp.nl/jaarcongres/kunst-expo-2019/", + "url": "https://www.tivolivredenburg.nl/agenda/privacyrede-2019-16-01-2019/", "workFeatured": [] }, { @@ -284,7 +294,15 @@ "organizer": {"@id": "r:/organisation/ccu"}, "location": "Nijverheidsloods, Utrecht" } - ] + ], + "about": { + "@id": "r:/guest-worker/report", + "@type": "Report", + "name": "Guest Worker Research Report", + "description": "A brief report written in light of Guest Worker (2019). In Dutch.", + "url": "http://guest_worker.rubenvandeven.com/", + "datePublished": "2019-11-26" + } } }, { @@ -824,6 +842,7 @@ ] }, { + "@id": "r:/eye-without-a-face", "@type": "MediaObject", "name": "EYE Without A Face", "dateCreated": "2016", @@ -852,6 +871,14 @@ "thumbnailUrl": "/assets\/thumb\/eye_6-2.jpg" } ], + "video": { + "@id": "r:/eye-without-a-face/video", + "@type": "VideoObject", + "thumbnailUrl": "/assets\/thumb\/eye_1.jpg", + "contentUrl": "http://works.rubenvandeven.com/2016-eye_without_a_face/EyeWithoutAFace.mp4" , + "encodingFormat": "video/mp4", + "videoFrameSize": "1920x1080" + }, "@reverse": { "workFeatured": [ { @@ -1323,7 +1350,7 @@ }, { "@type": "TheaterEvent", - "name": "NEXT Festival", + "name": "Winzavod Art Center", "location": "Moscow", "startDate": "2020-02-14", "endDate": "2020-02-28",