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{"@graph":[{"@id":"_:b0","@type":"https://schema.org/ScholarlyArticle","https://schema.org/about":"https://git.rubenvandeven.com/security_vision/svganim","https://schema.org/abstract":"In this paper we propose a time-based digital tool, a diagram-in-the-making, as to learn about computer vision in the field of security. With this method we want to map the heterogeneous and multiple nature of security vision tech- nologies and their imaginaries. Concretely, we conducted qualitative interviews with professionals who develop, use or militate against these technologies and asked them to draw a diagram as to support their narrative. In spatialising the conversation, the diagrams allow for a wide variety of actants and relations to emerge. The time-based unfolding of the lines enacts imaginaries of computer vision practices which are intrinsically intertwined with the narratives of which they are part. It creates space for hesitation, uncertainties, incongruities and complexities that would have been rendered invisible in a geographic map. Through the spatial, material and temporal unfoldings of the diagrams we learn that security vision imaginaries are partial and contradictory.","https://schema.org/alternativeHeadline":"Con-Figuring Security Vision through Diagramming","https://schema.org/author":[{"@id":"https://rubenvandeven.com/person/ildiko-plajas"},{"@id":"https://rubenvandeven.com/"}],"https://schema.org/datePublished":"2022-10-18","https://schema.org/identifier":"https://doi.org/10.7146/aprja.v11i1.134306","https://schema.org/isPartOf":"A Peer-Reviewed Journal About: Vol. 11 No. 1 (2022): Rendering Research","https://schema.org/name":" Inconsistent Projections","https://schema.org/pageEnd":"65","https://schema.org/pageStart":"50","https://schema.org/url":"https://aprja.net//article/view/134306"},{"@id":"_:b1","@type":"https://schema.org/ScholarlyArticle","https://schema.org/abstract":"How does one map and visualise the complex arrangements of computer vision technologies used in the field of security in a collaborative setting where the research participants come from different scholarly traditions? This paper is an account of how we have attempted to tackle this question, and in the process of doing so, had to overcome challenges linked to the very meaning of collaboration. In a context in which epistemological and ontological differences appeared insurmountable, rather than searching for an illusory consensus, we decided to pluralize our visualisation practices. We thus mobilize maps, diagrams and snapshots not as illustrations but as the very nodes where frictions become tangible and generative of new directions. In our co-laboration we move from networks and maps to diagrams and 3D spaces yet still hold them together by reading across and through them, what we define as a “diffractive” approach.","https://schema.org/alternativeHeadline":"On Generative Frictions in Mapping Computer Vision Technologies in the Field of Security","https://schema.org/author":[{"@id":"https://rubenvandeven.com/person/ildiko-plajas"},{"@id":"https://rubenvandeven.com/person/francesco-ragazzi"},{"@id":"https://rubenvandeven.com/"}],"https://schema.org/datePublished":"2022-07-31","https://schema.org/identifier":"https://doi.org/10.4000/anthrovision.6924","https://schema.org/isPartOf":"Anthrovision [Online], Vol. 8 No. 1 (2020). 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By adjusting these parameters (among which region, scope and speed) the spectator actively perceives how news content is de- and reformed through its aesthetics.","https://schema.org/image":[{"@id":"_:b107"},{"@id":"_:b108"}],"https://schema.org/name":"The Spectacular Times","https://schema.org/url":"http://spectacularspectacular.news"},{"@id":"_:b107","@type":"https://schema.org/ImageObject","https://schema.org/caption":"The Spectacular Times","https://schema.org/contentUrl":"/assets/image/times1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/times1.jpg"},{"@id":"_:b108","@type":"https://schema.org/ImageObject","https://schema.org/caption":"The Spectacular Times","https://schema.org/contentUrl":"/assets/image/times2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/times2.jpg"},{"@id":"_:b109","@type":"https://schema.org/CollegeOrUniversity","https://schema.org/addressLocality":"London","https://schema.org/educationalCredentialAwarded":{"@id":"https://rubenvandeven.com/degree/cddc"},"https://schema.org/name":"The Open University"},{"@id":"_:b11","@type":"https://schema.org/ScreeningEvent","https://schema.org/description":" What is the impact of Artificial Intelligence on the labour market what does it mean for diversity and inclusion? That is de question that the art installation Guest Worker addresses. 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It was founded in 1979 and that year was also the first edition of the annual Ars Electronica Festival. The festival has been a frontrunner for 40 years when it comes to presenting work at the intersection of art, technology and society.\n\nThis year the festival will take place online with 120 participants around the world who all locally and online organise a program part for the festival. These program parts are called “gardens”. The Ars Electronica Garden Utrecht is hosted by HKU and is a showcase of upcoming talents from the HKU University of the Arts Utrecht. This showcase is called “new connections”. All works presented take on the notion of a world in transition and the need for humans to change their attitude towards this world. This can be for example towards humanity technology, tradition, nature and/or spirituality. Visiting the showcase you are invited to explore ways in making new connections with everything around you. For Ars Electronica 2020 the Ars Electronica Garden Utrecht was curated and produced by HKU Expertise Center for Creative Technology.","https://schema.org/endDate":"2020-09-12","https://schema.org/location":"Kapitaal, Utrecht","https://schema.org/name":"Ars Electronica Garden Utrecht","https://schema.org/organizer":[{"@id":"https://rubenvandeven.com/organisation/setup"},{"@id":"https://rubenvandeven.com/organisation/hku"},{"@id":"https://rubenvandeven.com/organisation/ccu"}],"https://schema.org/startDate":"2020-09-10","https://schema.org/superEvent":{"@id":"https://rubenvandeven.com/arselectronica"},"https://schema.org/url":"https://arselectronica.hku.nl/","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/guest-worker"}},{"@id":"_:b30","@type":"https://schema.org/Museum","https://schema.org/address":"Singapore","https://schema.org/name":"Museum of Arts & Sciences"},{"@id":"_:b31","@type":"https://schema.org/CollegeOrUniversity","https://schema.org/address":"New York City","https://schema.org/name":"Hunter College"},{"@id":"_:b32","@type":"https://schema.org/ExhibitionEvent","https://schema.org/description":"I organised this exhibition as part of my Summer Sessions residency at Arquivo237. It was a modest exhibition covering my research on emotion recognition software.","https://schema.org/endDate":"2016-09","https://schema.org/location":{"@id":"_:b33"},"https://schema.org/name":"Manipulation: Emotion Hero","https://schema.org/startDate":"2016-09","https://schema.org/url":"https://www.facebook.com/events/589274264578244/","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/emotionhero"}},{"@id":"_:b33","@type":"https://schema.org/EventVenue","https://schema.org/address":"Lisbon","https://schema.org/name":"Arquivo237"},{"@id":"_:b34","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/emotionhero1-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/emotionhero1-2.jpg"},{"@id":"_:b35","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/emotionhero2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/emotionhero2.jpg"},{"@id":"_:b36","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2018-03-04","https://schema.org/location":{"@id":"_:b37"},"https://schema.org/name":"Big Stories Need Human Stakes","https://schema.org/startDate":"2018-02-02","https://schema.org/url":"https://nieuwevide.nl/programma/big-stories-need-human-stakes","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/choose-how-you-feel-you-have-seven-options"}},{"@id":"_:b37","@type":"https://schema.org/Museum","https://schema.org/address":"Haarlem","https://schema.org/name":"Nieuwe Vide"},{"@id":"_:b38","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2016-07-07 23:00","https://schema.org/location":{"@id":"https://rubenvandeven.com/organisation/v2_"},"https://schema.org/name":"Test_Lab the Graduation Edition","https://schema.org/startDate":"2016-07-07 20:00","https://schema.org/url":"http://v2.nl/events/test_lab-the-graduation-edition-2015-1/","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/choose-how-you-feel-you-have-seven-options"}},{"@id":"_:b39","@type":"https://schema.org/ExhibitionEvent","https://schema.org/about":{"@id":"https://rubenvandeven.com/degree/media-design"},"https://schema.org/endDate":"2016-06-26","https://schema.org/location":{"@id":"https://rubenvandeven.com/university/piet-zwart"},"https://schema.org/name":"Fuzzy Logic - Graduation Show","https://schema.org/startDate":"2016-06-17","https://schema.org/url":"https://pzimediadesign.nl/2016.html","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/choose-how-you-feel-you-have-seven-options"}},{"@id":"_:b4","@type":"https://schema.org/ExhibitionEvent","https://schema.org/description":"SETUP x NSVP: future scenarios for AI and the job market\nAlgorithms that assess application letters. 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. Would you still be hired for your own job if you had to apply with these systems?","https://schema.org/endDate":"2019-11-06","https://schema.org/location":"Naturalis, Leiden","https://schema.org/name":"Beyond Human","https://schema.org/organizer":[{"@id":"https://rubenvandeven.com/organisation/setup"},{"@id":"https://rubenvandeven.com/organisation/nsvp"}],"https://schema.org/startDate":"2019-11-04","https://schema.org/superEvent":{"@id":"https://rubenvandeven.com/exhibition/brave_new_world"},"https://schema.org/url":"https://www.beyondhuman.nl/event/setup/","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/guest-worker"}},{"@id":"_:b40","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/choosehowyoufeel2-2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/choosehowyoufeel2-2.jpg"},{"@id":"_:b41","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/choosehowyoufeel.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/choosehowyoufeel.jpg"},{"@id":"_:b42","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2017-04-26","https://schema.org/location":{"@id":"_:b43"},"https://schema.org/name":"Video Vortex","https://schema.org/startDate":"2017-04-23","https://schema.org/url":"https://issuu.com/instituteofnetworkcultures/docs/catalouge_compiled_final__29-03_/29","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/eye-without-a-face"}},{"@id":"_:b43","@type":"https://schema.org/Place","https://schema.org/address":"Kochi (India)","https://schema.org/name":" Mill Hall / Kochi-Muzeris biennial"},{"@id":"_:b44","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2016-12","https://schema.org/location":{"@id":"_:b45"},"https://schema.org/name":"Grand Instant Fiction","https://schema.org/startDate":"2016-12","https://schema.org/url":"http://umakart.tumblr.com/post/169464483314/grand-instant-fiction-10-sakrowski-evil","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/eye-without-a-face"}},{"@id":"_:b45","@type":"https://schema.org/EventVenue","https://schema.org/address":"Brno","https://schema.org/name":"Umakart Gallery"},{"@id":"_:b46","@type":"https://schema.org/ExhibitionEvent","https://schema.org/description":"The Piet Zwart Institute at the Eye Film Museum in Amsterdam as part of its ResearchLab series. 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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":"_:b52","@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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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":"_:b70"}},{"@id":"_:b72","@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":"_:b73","@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":"_:b74","@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":"_:b75"},{"@id":"_:b76"},{"@id":"_:b77"}],"https://schema.org/name":"Fragments of reality"},{"@id":"_:b75","@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":"_:b76","@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":"_:b77","@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":"_:b78","@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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The full film is available on Youtube.","https://schema.org/image":[{"@id":"_:b88"},{"@id":"_:b89"},{"@id":"_:b90"}],"https://schema.org/name":"Rangi Ya Samawati","https://schema.org/video":{"@id":"https://rubenvandeven.com/samawati/video"}},{"@id":"_:b88","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev2.jpg"},{"@id":"_:b89","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev1.jpg"},{"@id":"_:b90","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati4.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati4.jpg"},{"@id":"_:b91","@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. It is made in two weeks for a series of shorts with a given start and ending image.\nWe asked ourselves: what happens if our online identity lives on after we die? Do we still live on if a part of our online identity does? 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An artificial voice functions as a mediator, a partner and a mirror to one's own.\n\nWhile conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passed, Pillow Talk is an invitation to suspend eye-to-eye relations and to reposition yourself in direct relation to the non-human.\n\nI developed the interface for the participants, as well as a custom story flow editor for the director/writer Begüm Erciyas.","https://schema.org/image":[{"@id":"_:b103"},{"@id":"_:b104"},{"@id":"_:b105"}],"https://schema.org/name":"Pillow Talk","https://schema.org/url":"https://www.begumerciyas.com/work/pillow-talk-2019/"},{"@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 <em>Data Dramatisation</em> 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.\n\nWith support of the Creative Industries Fund NL.","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/temporalCoverage":"2018-2020","https://schema.org/url":"http://plottingd.at/a"},{"@id":"https://rubenvandeven.com/residency/q21","@type":"https://schema.org/VisualArtsEvent","https://schema.org/attendee":{"@id":"https://rubenvandeven.com/"},"https://schema.org/endDate":"2017-02","https://schema.org/location":{"@id":"https://rubenvandeven.com/place/q21"},"https://schema.org/name":"Residency: Q21","https://schema.org/startDate":"2017-01","https://schema.org/url":"https://www.mqw.at/institutionen/q21/artists-in-residence/2016/ruben-van-de-ven/"},{"@id":"https://rubenvandeven.com/residency/summer-sessions","@type":"https://schema.org/VisualArtsEvent","https://schema.org/about":{"@id":"https://rubenvandeven.com/emotionhero"},"https://schema.org/attendee":{"@id":"https://rubenvandeven.com/"},"https://schema.org/description":"I was part of the Summer Sessions Network for Talent Development in a co-production of Arquivo 237 and V2_ Lab for the Unstable Media, with support of the Creative Industries Fund NL.","https://schema.org/endDate":"2016-10","https://schema.org/name":"Residency: Summer Sessions 2016","https://schema.org/startDate":"2016-09","https://schema.org/subEvent":{"@id":"_:b32"},"https://schema.org/url":["http://summersessions.net/17-projects/projects-2016/55-emotion-hero","http://www.arquivo237.com/en/Passado/manipulation-emotion-hero-2/"]},{"@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/samawati3.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 <em>black boxes</em>. 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":"_:b18"},{"@id":"_:b19"},{"@id":"_:b20"},{"@id":"_:b21"}],"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/educationalCredentialAwarded":{"@id":"https://rubenvandeven.com/degree/media-design"},"https://schema.org/name":"Piet Zwart Institute","https://schema.org/parentOrganization":{"@id":"https://rubenvandeven.com/organisation/willem-de-kooning-academie"}},{"@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/description":"I am data! This website's graph structure is inspired by schema.org - an effort to structure all content on the www. Scaling and ordering is based on the PageRank algorithm: items wich are linked more are ordered on top. Good luck finding your way in this hyper structured portfolio.","https://schema.org/url":"https://rubenvandeven.com"}]} |