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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? How can this virtual identity be shaped?\n2′10″","https://schema.org/image":{"@id":"_:b85"},"https://schema.org/name":"Virtual Afterlife","https://schema.org/video":{"@id":"https://rubenvandeven.com/assets/video/guerilla_project.mp4#videoobject"}},{"@id":"_:b85","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/guerilla2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/guerilla2.jpg"},{"@id":"_:b86","@type":"https://schema.org/MediaObject","https://schema.org/about":[{"@id":"_:b95"},{"@id":"_:b96"}],"https://schema.org/contributor":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2019","https://schema.org/description":"The voice is surely an uncanny phenomenon. 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As part of their Longform series, the Institute of Network Cultures published my research into software that derives emotional scores from facial expressions.","https://schema.org/name":"Longform - Choose How You Feel; You Have Seven Options","https://schema.org/publisher":{"@id":"_:b63"},"https://schema.org/url":"http://networkcultures.org/longform/2017/01/25/choose-how-you-feel-you-have-seven-options/"},{"@id":"https://rubenvandeven.com/assets/video/guerilla_project.mp4#videoobject","@type":"https://schema.org/VideoObject","https://schema.org/contentUrl":"/assets/video/guerilla_project.mp4","https://schema.org/encodingFormat":"video/mp4","https://schema.org/thumbnailUrl":"/assets/thumb/guerilla_project.mp4.jpg","https://schema.org/videoFrameSize":"1280x1024"},{"@id":"https://rubenvandeven.com/emotionhero","@type":"https://schema.org/MediaObject","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2016","https://schema.org/description":"Emotion recognition software is being used both as a tool for ‘objective’ measurements as well as a tool for training one’s facial expressions, eg. for job interviews. Emotion Hero is a literal translation of the paradoxical relation between these applications of the technology.\n\nEmotion Hero is a two-part artwork. On the one hand is a video-game that is freely downloadable for everybody with an Android device (see <a href=\"https://play.google.com/store/apps/details?id=com.rubenvandeven.emotion_hero\">Google Play</a>). Inspired by Guitar Hero, the user scores points by following given cues. It provides detailed feedback on the mechanics of the face (eg. “You showed on 10% Joy when you had to show 100%, smile 99.32% more.”), revealing that rather than being a window into the brain, the face is a controllable surface.\n\nThe second part is a projection that shows the aggregated scores of the game. In order to substantiate their discourse, companies in facial expression measurement employ a huge amount of data collection and processing. The results are displayed in a fixed grid, recalling historical practices that, trough extensive measurement and administration, also aimed to delineate something which is conceptually undelineated: think of Duchenne de Boulogne, Lombroso, and Charcot.\n\nEmotion Hero is a playful invitation to open up the box of expression analysis to reveal the assumptions that underlie this technology.\nThe game's emotional intelligence is powered by Affectiva (I was also <a href=\"http://blog.affectiva.com/sdk-on-the-spot-emotion-hero-app-encourages-play-with-facial-expressions\">interviewed</a> by them).","https://schema.org/image":[{"@id":"_:b27"},{"@id":"_:b28"}],"https://schema.org/name":"Emotion Hero","https://schema.org/url":"https://emotionhero.com"},{"@id":"https://rubenvandeven.com/event/2018/yama-ichi","@type":"https://schema.org/ExhibitionEvent","https://schema.org/location":{"@id":"https://rubenvandeven.com/venue/tivoli"},"https://schema.org/name":"Yama Ichi Black Market","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/heartbeat"}},{"@id":"https://rubenvandeven.com/event/2019/ccu-presentation","@type":"https://schema.org/Event","https://schema.org/location":"Nijverheidsloods, Utrecht","https://schema.org/name":"Presentation @ Creative Coding Utrecht","https://schema.org/organizer":{"@id":"https://rubenvandeven.com/organisation/ccu"},"https://schema.org/startDate":"2019-10-31","https://schema.org/workFeatured":[{"@id":"https://rubenvandeven.com/guest-worker"},{"@id":"https://rubenvandeven.com/exercises-in-overfitting"}]},{"@id":"https://rubenvandeven.com/event/creativity-and-cognition","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2017-06","https://schema.org/location":{"@id":"_:b23"},"https://schema.org/name":"Microbites of Creativity","https://schema.org/organiser":"ACM Creativity & Cognition","https://schema.org/startDate":"2017-06","https://schema.org/url":["http://microbites.me/","http://cc.acm.org/2017/microbites/?ArtworksCC2017/"],"https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/emotionhero"}},{"@id":"https://rubenvandeven.com/exercises-in-overfitting","@type":"https://schema.org/MediaObject","http://www.w3.org/2000/01/rdf-schema#seeAlso":"https://gitlab.com/rubenvandeven/diede","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2019","https://schema.org/description":"I taught a computer how to write the name of my son. 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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\n<em>Minimum Viable Product #2</em> brings this business model to the art world. 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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":"_: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"}]} |