903 lines
54 KiB
Text
903 lines
54 KiB
Text
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"url": "https://rubenvandeven.com",
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"@id": "https://rubenvandeven.com/ruben",
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"@type": "Person",
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"name": "Ruben van de Ven",
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"jobTitle": "digital artist / researcher of software culture",
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"email": "info@rubenvandeven.com",
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"nationality": "The Netherlands",
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"@id": "http://plottingd.at/a",
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"@type": "PerformingGroup",
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"name": "Plotting Data: dramatisation as tactic",
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"url": "http://plottingd.at/a",
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"foundingDate": "2018",
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"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.",
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"@type": "Event",
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"name": "Digital Cultures: Knowledge / Culture / Technology",
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"url": "https://digitalculturesconference.org/",
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"startDate": "2018-09-19",
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"endDate": "2018-09-22",
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"organizer": "Centre for Digital Cultures & Institute for Culture and Society",
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"location": "Leuphana University, Lüneburg"
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}
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"name": "Residency: Summer Sessions 2016",
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"url": "http://summersessions.net/17-projects/projects-2016/55-emotion-hero",
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"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.",
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"startDate": "2016-09",
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"about": {
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"@id": "https://rubenvandeven.com/emotionhero"
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"@type": "VisualArtsEvent",
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"name": "Residency: Q21",
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"@id": "https://rubenvandeven.com/exhibition/mood_swings"
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"name": "Sustaining Gazes",
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"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.",
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{
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"@type": "ExhibitionEvent",
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"name": "Route du Nord",
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"url": "http://routedunord.nl/portfolio-item/ruben-van-de-ven-2/",
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"@type": "EventVenue",
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"name": "ZOHO",
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"address": "Rotterdam"
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},
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},
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{
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"@type": "CreativeWorkSeries",
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"name": "MVPs",
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"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 <em>Minimum Viable Products</em>. Recontextualising these business models towards an arts context, results in new perspectives on both the arts as well as start-up culture.",
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"dateCreated":"2018",
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{
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"@type": "MediaObject",
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"name": "MVP#1 Gathering viewing statistics for Donald Schenkel",
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"dateCreated": "2018",
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"description": "The work of Donald Schenkel is augmented with a camera which keeps track of how long people look at the work. Like an electricity meter, the value increases the more the work is <em>used</em>. This data is then sent to a server, and provides the artist —in this case Donald Schenkel— with live statistics. But who owns this data generated by the work? The buyer, the artist, or the mediator — which is me?\n\nThis is the first augmentation that is part of the MVP series created for KickstART.",
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"width": "45cm + 15cm",
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"height": "55cm + 8cm",
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"artworkSurface": "Oilpaint on wood + WiFi-connected RaspberryPi in ABS enclosure",
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"contributor": {
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"@id": "http://www.donaldschenkel.nl/",
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"@type": "Person",
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"name": "Donald Schenkel",
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"url": "http://www.donaldschenkel.nl/"
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"@id": "https://rubenvandeven.com/#kick2018exhibit",
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"@type": "ExhibitionEvent",
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"name": "KickstART",
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"location": {
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"@id": "https://rubenvandeven.com/place/in4art",
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"@type": "EventVenue",
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"name": "In4Art Project Space",
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"address": "Amsterdam"
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},
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"startDate": "2018-03-28",
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"endDate": "2018-03-28"
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},
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{
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"@id": "https://rubenvandeven.com/#in4artSalon",
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"@type": "ExhibitionEvent",
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"name": "Salon VI - Innovatism",
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"location": {
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"@id": "https://rubenvandeven.com/place/in4art"
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},
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"startDate": "2018-05-18",
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"endDate": "2018-05-27"
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}
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{
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"contentUrl": "assets\/image\/mvp1-1.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/mvp1-2.jpg"
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},
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{
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"contentUrl": "assets\/image\/mvp1-4.jpg"
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}
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},
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{
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"@type": "MediaObject",
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"name": "MVP#2 Joseph Huot's Limited Edition",
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"dateCreated": "2018",
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"description": "In September 2017, huricane Irma was racing towards Florida. 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. It provides a <em>limited</em> edition of a drawing by Joseph Huot.",
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"width":"32.5cm",
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"height":"50cm",
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"artworkSurface": "Pencil drawing in metal LCD enclosure",
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"contributor": {
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"@id": "http://www.joseph-huot.com/",
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"@type": "Person",
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"name": "Joseph Huot",
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"url": "http://www.joseph-huot.com/"
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"contentUrl": "assets\/image\/mvp2-01.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/mvp2-02.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/mvp2-5.jpg"
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}
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]
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},
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{
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"@type": "MediaObject",
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"name": "MVP#3 Customiseyour.art - Mikel Folgerts 1/3",
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"dateCreated": "2018",
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"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\n<em>Minimum Viable Product</em> #3 allows buyers to customise the work they bought —Rotterdam, by Mikel Folgerts—, linking the status of the artist to their product.",
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"width":"40cm",
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"height":"40cm",
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"artworkSurface": "Personalised print on perspex",
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"contributor": {
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"@type": "Person",
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"name": "Mikel Folgerts",
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"url": "https://www.instagram.com/mikelfolgerts/"
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}
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{
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"contentUrl": "assets\/image\/mvp3-1.jpg"
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}
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}
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"@type": "MediaObject",
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"name": "Spectacular Spectator Mood Meter",
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"dateCreated": "2017",
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"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?",
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"producer": {
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"@id": "https://rubenvandeven.com/#v2_"
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{
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"@type": "ExhibitionEvent",
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"name": "Evening of the Black Box Concerns",
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"url": "http://v2.nl/events/evening-of-the-black-box-concerns",
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"location": {
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"@id": "https://rubenvandeven.com/#v2_"
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},
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"startDate": "2017-12-7",
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]
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"contentUrl": "assets\/image\/moodmeter1-1.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/moodmeter2.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/moodmeter3.jpg"
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},
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{
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"@type": "ImageObject",
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"contentUrl": "assets\/image\/moodmeter4.jpg"
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}
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]
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},
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{
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"@id": "https://rubenvandeven.com/emotionhero",
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"@type": "MediaObject",
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"dateCreated": "2016",
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"name": "Emotion Hero",
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"description": "Emotion recognition software is being used both as a tool for \u2018objective\u2019 measurements as well as a tool for training one\u2019s 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. \u201cYou showed on 10% Joy when you had to show 100%, smile 99.32% more.\u201d), 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).",
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"url": "https://emotionhero.com",
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{
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"name": "ECP Conference",
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"location": {
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"@type": "EventVenue",
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"name": "Fokker Terminal"
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},
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"startDate": "2018-11-15",
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"endDate": "2018-11-15",
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"workFeatured": []
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},
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{
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"@id": "https://rubenvandeven.com/exhibition/mood_swings",
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"@type": "ExhibitionEvent",
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"name": "Mood Swings",
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"location": {
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"@id": "https://rubenvandeven.com/place/q21",
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"@type": "Museum",
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"name": "frei_raum / Q21",
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"address": "MuseumsQuartier /Vienna"
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},
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"startDate": "2017-03-28",
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"workFeatured": []
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},
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{
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"@type": "ExhibitionEvent",
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"name": "Open Codes",
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"url": "https://open-codes.zkm.de/",
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"location": {
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"@type": "Museum",
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"name": "ZKM",
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"address": "Karlsrue"
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},
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"startDate": "2017-10-20",
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"endDate": "2018-08-05",
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"workFeatured": []
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},
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{
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"@type": "ExhibitionEvent",
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"name": "Plan D",
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"url": "http://2017.pland.hr/vijesti/dodijeljena-nagrada-i-pocasne-diplome-festivala-plan-d/",
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"location": "Zagreb",
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"startDate": "2017-10",
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"endDate": "2018-10",
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"awarded": "honorable mention",
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"workFeatured": []
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},
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{
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"@type": "ExhibitionEvent",
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"name": "Ars Electronica",
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||
"url": "http://v2.nl/events/summer-sessions-at-ars-electronica-festival-2017",
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"location": {
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"@type": "Festival",
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||
"name": "Ars Electronica",
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||
"address": "Linz"
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},
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"startDate": "2017-09",
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"endDate": "2017-09",
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"organiser": { "@id":"vhttps://rubenvandeven.com/#2_" },
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"funded": "Creative Industries Fund",
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"workFeatured": []
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},
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{
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"@type": "ExhibitionEvent",
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||
"name": "Microbites of Creativity",
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||
"url": "http://microbites.me/",
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||
"organiser": "ACM Creativity & Cognition",
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"location": {
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"@type": "Museum",
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||
"name": "Museum of Arts & Sciences",
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||
"address": "Singapore"
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||
},
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||
"startDate": "2017-06",
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||
"endDate": "2017-06",
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"workFeatured": []
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||
},
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||
{
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"@id": "https://rubenvandeven.com/#codesandmodes",
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||
"@type": "ExhibitionEvent",
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"url": "https://www.hunterintegratedmedia.org/reframe/speaker-lineup/ruben-van-de-ven/",
|
||
"name": "Codes & Modes II",
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||
"organiser": "Integrated Media Arts MFA",
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||
"location": {
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"@type": "CollegeOrUniversity",
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||
"name": "Hunter College",
|
||
"address": "New York City"
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||
},
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||
"startDate": "2017-03-16",
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"endDate": "2017-03-18",
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"workFeatured": [],
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"about": {
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"@id": "http://networkcultures.org/longform/2017/01/25/choose-how-you-feel-you-have-seven-options/"
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||
}
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||
},
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||
{
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||
"@id": "https://rubenvandeven.com/#stateofemotion",
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||
"@type": "ExhibitionEvent",
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||
"name": "STATE of Emotion",
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||
"isPartOf": {
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"@id": "https://www.statefestival.org/",
|
||
"@type": "Event",
|
||
"name": "STATE Festival",
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||
"address": "Berlin"
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||
},
|
||
"startDate": "2016-11-04",
|
||
"endDate": "2016-11-05",
|
||
"workFeatured": []
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Manipulation: Emotion Hero",
|
||
"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.",
|
||
"location": {
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||
"@type": "EventVenue",
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||
"name": "Arquivo237",
|
||
"address": "Lisbon"
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||
},
|
||
"startDate": "2016-09",
|
||
"endDate": "2016-09",
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||
"workFeatured": [],
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||
"isPartOf": {
|
||
"@id": "http://summersessions.net/17-projects/projects-2016/55-emotion-hero"
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||
}
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||
}
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||
]
|
||
},
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||
"image": [
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||
{
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||
"@type": "ImageObject",
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||
"contentUrl": "assets\/image\/emotionhero1-2.jpg"
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},
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{
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||
"@type": "ImageObject",
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||
"contentUrl": "assets\/image\/emotionhero2.jpg"
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}
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]
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},
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{
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||
"@type": "MediaObject",
|
||
"name": "Choose How You Feel; You Have Seven Options",
|
||
"dateCreated": "2016",
|
||
"duration":"9M9S (∞ loop)",
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||
"artworkSurface": "3 projections",
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||
"description": "What does it mean to feel 47% happy and 21% surprised? <em>Choose how you feel; you have seven options</em> is a video work that revolves around this question as it looks at software that derives emotional parameters from facial expressions. It combines human accounts and algorithmic processing to examine the intersection of highly cognitive procedures and ambiguous experiences. Born from a fascination with the technological achievements, the work interrogates the discursive apparatus the software is embedded in.\n\nThis work builds on my research into the workings of expression analysis technologies and the assumptions that underlie it, scrutinising the claims that are made by the companies developing the software.",
|
||
"@reverse": {
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|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Big Stories Need Human Stakes",
|
||
"location": {
|
||
"@type": "Museum",
|
||
"name": "Nieuwe Vide",
|
||
"address": "Haarlem"
|
||
},
|
||
"startDate": "2018-02-02",
|
||
"endDate": "2018-03-04",
|
||
"workFeatured": []
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Test_Lab the Graduation Edition",
|
||
"url": "http://v2.nl/events/test_lab-the-graduation-edition-2015-1/",
|
||
"location": {
|
||
"@id": "https://rubenvandeven.com/#v2_",
|
||
"@type": "Place",
|
||
"name": "V2_",
|
||
"address": "Rotterdam"
|
||
},
|
||
"startDate": "2016-07-07 20:00",
|
||
"endDate": "2016-07-07 23:00",
|
||
"workFeatured": []
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Fuzzy Logic - Graduation Show",
|
||
"url": "https://pzimediadesign.nl/2016.html",
|
||
"location": {
|
||
"@type": "CollegeOrUniversity",
|
||
"name": "Piet Zwart Institute",
|
||
"address": "Rotterdam"
|
||
},
|
||
"startDate": "2016-06-17",
|
||
"endDate": "2016-06-26",
|
||
"workFeatured": []
|
||
}
|
||
]
|
||
},
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/choosehowyoufeel2-2.jpg"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/choosehowyoufeel.jpg"
|
||
}
|
||
]
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "EYE Without A Face",
|
||
"dateCreated": "2016",
|
||
"duration": "11:32 (∞ loop)",
|
||
"description": "Whether the video frames are ordered by time or by emotion will not make a difference to a computer. 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. Cutting from one face to another,its uncritical selection produced a new portrait of emotional gradients moving in-between anger and happiness.",
|
||
"author": {
|
||
"@id": "http://randomizer.info",
|
||
"@type": "Person",
|
||
"name": "Cristina Cochior",
|
||
"url": "http://randomizer.info"
|
||
},
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/eye_0-2.jpg"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/eye_3-2.jpg"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/eye_6-2.jpg"
|
||
}
|
||
],
|
||
"@reverse": {
|
||
"workFeatured": [
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Video Vortex",
|
||
"location": {
|
||
"@type": "Place",
|
||
"name": " Mill Hall / Kochi-Muzeris biennial",
|
||
"address": "Kochi (India)"
|
||
},
|
||
"startDate": "2017-04-23",
|
||
"endDate": "2017-04-26"
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Grand Instant Fiction",
|
||
"location": {
|
||
"@type": "EventVenue",
|
||
"name": "Umakart Gallery",
|
||
"address": "Brno"
|
||
},
|
||
"startDate": "2016-12",
|
||
"endDate": "2016-12"
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Boundaries of the Archive",
|
||
"description": "The Piet Zwart Institute at the Eye Film Museum in Amsterdam as part of its ResearchLab series. The exhibition focussed on the boundaries of the archive. Studying the structures and cultural impacts of our media technologies, it concentrated on the intricate and usually hidden aspects of EYE's extensive archive",
|
||
"location": {
|
||
"@type": "Museum",
|
||
"name": "EYE Film Museum",
|
||
"address": "Amsterdam"
|
||
},
|
||
"startDate": "2016-04-12",
|
||
"endDate": "2014-04-24"
|
||
}
|
||
]
|
||
}
|
||
},
|
||
{
|
||
"@type": "ScholarlyArticle",
|
||
"name": "Article - Emotion Hero",
|
||
"pageStart": "422",
|
||
"pageEnd": "423",
|
||
"isPartOf": "C&C '17 Proceedings of the 2017 ACM SIGCHI Conference on Creativity and Cognition",
|
||
"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.",
|
||
"url": "https://doi.org/10.1145/3059454.3059490/",
|
||
"publisher": "ACM New York, NY, USA",
|
||
"datePublished": "2017-01-27"
|
||
},
|
||
{
|
||
"@id": "http://networkcultures.org/longform/2017/01/25/choose-how-you-feel-you-have-seven-options/",
|
||
"@type": "Report",
|
||
"name": "Longform - Choose How You Feel; You Have Seven Options",
|
||
"description": "What does it mean to feel 82% surprised or 93% joy? As part of their Longform series, the Institute of Network Cultures published my research into software that derives emotional scores from facial expressions.",
|
||
"url": "http://networkcultures.org/longform/2017/01/25/choose-how-you-feel-you-have-seven-options/",
|
||
"datePublished": "2017-01-27",
|
||
"publisher": {
|
||
"@type": "Organization",
|
||
"name": "Institute of Network Cultures",
|
||
"url": "http://networkcultures.org"
|
||
},
|
||
"@reverse": {
|
||
"about": [
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Media Lab UFRJ",
|
||
"url": "https://www.ied.edu/ied-locations/sao-paulo",
|
||
"startDate": "2018-05-25",
|
||
"endDate": "2018-05-25",
|
||
"organizer": "Media Lab UFRJ & Dutch Consulate",
|
||
"location": "Rio de Janeiro"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Instituto Europeo di Design",
|
||
"url": "https://www.ied.edu/ied-locations/sao-paulo",
|
||
"startDate": "2018-05-22",
|
||
"endDate": "2018-05-22",
|
||
"organizer": "Instituto Europeo di Design & Dutch Consulate",
|
||
"location": "São Paulo"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Nuffic Neso",
|
||
"url": "https://www.nuffic.nl/onderwerpen/kantoren-het-buitenland/",
|
||
"startDate": "2018-05-21",
|
||
"endDate": "2018-05-21",
|
||
"organizer": "Nuffic Neso & Dutch Consulate",
|
||
"location": "São Paulo"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Festival PATH",
|
||
"url": "https://www.festivalpath.com.br/palestras/#palestrante-ruben-van-de-ven",
|
||
"startDate": "2018-05-19",
|
||
"endDate": "2018-05-19",
|
||
"organizer": "Dutch Consulate",
|
||
"location": "São Paulo"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ The Hmm",
|
||
"url": "https://thehmm.nl/the-hmm-x-baut/",
|
||
"startDate": "2018-03-28",
|
||
"endDate": "2018-03-28",
|
||
"organizer": "The Hmm",
|
||
"location": "Baut, Amsterdam"
|
||
},
|
||
{
|
||
"@type": "EducationEvent",
|
||
"name": "Workshop: Urban Frictions",
|
||
"url": "https://urbaninterfaces.sites.uu.nl",
|
||
"startDate": "2018-03-06",
|
||
"endDate": "2018-03-06",
|
||
"organizer": "Urban Interfaces, Utrecht University",
|
||
"location": "Utrecht",
|
||
"about": {
|
||
"@id" : "http://plottingd.at/a"
|
||
}
|
||
},
|
||
{
|
||
"@type": "EducationEvent",
|
||
"name": "Presentation @ Industrial Design",
|
||
"startDate": "2018-03-06",
|
||
"endDate": "2018-03-06",
|
||
"organizer": "Felienne Hermans, TU Delft",
|
||
"location": "TU Delft"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Worlding the Brain II",
|
||
"url": "https://worldingthebrain2017.com",
|
||
"startDate": "2017-11-02",
|
||
"endDate": "2017-11-04",
|
||
"organizer": "ASCA Research Group Neuroaesthetics and Neurocultures, University of Amsterdam",
|
||
"location": "CREA, Amsterdam"
|
||
},
|
||
{
|
||
"@type": "EducationEvent",
|
||
"name": "Workshop: Artistic Point of Interference",
|
||
"url": "https://caradt.com/2017/03/07/ekv-13-march-lecture-by-human-index/",
|
||
"startDate": "2017-03-13",
|
||
"endDate": "2017-03-14",
|
||
"organizer": "St. Joost Academy",
|
||
"location": "Breda"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Cqrrelations publication launch",
|
||
"url": "http://cqrrelations.constantvzw.org/0x0/",
|
||
"startDate": "2016-06-11",
|
||
"endDate": "2016-06-11",
|
||
"organizer": "Constant VZW.",
|
||
"location": "FoAM, Brussels"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Panel: Tracking Emotions",
|
||
"url": "https://state-studio.com/participant/2016/ruben-van-de-ven",
|
||
"startDate": "2018-11-04",
|
||
"endDate": "2018-11-04",
|
||
"isPartOf": {
|
||
"@id": "https://www.statefestival.org/"
|
||
},
|
||
"recordedIn": {
|
||
"@id": "https://www.youtube.com/watch?v=L2O6ecO-8PM&t=2042s",
|
||
"@type": "VideoObject"
|
||
}
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Digital<Dis>orders",
|
||
"url": "https://www.normativeorders.net/en/events/young-researchers-conferences/34-veranstaltungen/nachwuchskonferenz/5114-seventh-international-young-researchers-conference",
|
||
"startDate": "2016-11-17",
|
||
"endDate": "2016-11-19",
|
||
"organizer": "Goethe University",
|
||
"location": "Frankfurt am Main"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Winter school: What happens to the data in 'Big Data' ?",
|
||
"url": "www.bsts.be/wp-content/uploads/winter_school_2016-1.pdf",
|
||
"startDate": "2016-02",
|
||
"endDate": "016-02",
|
||
"organizer": "Workgroup: algorithmic governmentality",
|
||
"location": "University of Namur"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Art Meets Radical Openness",
|
||
"url": "https://www.radical-openness.org/en/festival/2016",
|
||
"startDate": "2018-05-25",
|
||
"endDate": "2018-05-28",
|
||
"location": "Linz"
|
||
},
|
||
{
|
||
"@type": "Event",
|
||
"name": "Presentation @ Digital Emotions Workgroup",
|
||
"url": "http://asca.uva.nl/content/research-groups/digital-emotions/digital-emotions.html",
|
||
"startDate": "2016",
|
||
"endDate": "2016",
|
||
"organizer": "Amsterdam School for Cultral Analysis",
|
||
"location": "University of Amsterdam"
|
||
}
|
||
]
|
||
}
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "We know how you feel",
|
||
"dateCreated": "2015",
|
||
"description": "A two-part artwork and my first work on software that derives emotional parameters from facial expressions. The first part displays the <em>Mind Reading Emotions Library<\/em>, 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 <em>Beyond Sleep<\/em> by W.F. Hermans (1966), concerning the impact of the mirror, photography and video on the human self-image.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/we_know_how_you_feel.jpg",
|
||
"caption": "We know how you feel"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/we_know_how_you_feel-3.jpg",
|
||
"caption": "Mind Reading Emotions Library"
|
||
}
|
||
],
|
||
"@reverse": {
|
||
"workFeatured": [
|
||
{
|
||
"@id": "https://rubenvandeven.com/#codesandmodes"
|
||
},
|
||
{
|
||
"@id": "https://rubenvandeven.com/#stateofemotion"
|
||
},
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "An Encyclopedia of Media Objects",
|
||
"url": "http://v2.nl/events/an-encyclopedia-of-media-objects",
|
||
"startDate": "2015-06-26",
|
||
"endDate": "2015-06-27",
|
||
"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]",
|
||
"location": {
|
||
"@id": "https://rubenvandeven.com/#v2_"
|
||
}
|
||
}
|
||
]
|
||
}
|
||
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "Fragments of reality",
|
||
"dateCreated": "2015-01-01",
|
||
"description": "In western society, images are generally perceived as objective traces of events. As evidence that things happened as how they are captured in the frame.\n\nAs Susan Sontag elaborates, this counts for photographic images in particular. They are seen, not as subjective statements about the world, but rather as pieces of it —as fragments of a reality. Photographic images are often seen as unbiased; they carry in them the \"burden of truth\". We use them to give meaning, to asses and to judge. It exactly is in this passivity of the image, that its aggression lurks.\nFragments of Reality is a newspaper that assembles descriptions of five images of one event: a press conference with Jeroen Dijsselbloem and Yanis Varoufakis. 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.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/fragments-6-2.jpg",
|
||
"caption": "Fragments of reality"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/fragments-9-2.jpg",
|
||
"caption": "Fragments of reality"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/fragments-7-2.jpg",
|
||
"caption": "Fragments of reality"
|
||
}
|
||
]
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "Waterdagen",
|
||
"dateCreated": "2013",
|
||
"description": "Adam is security guard at a nursing home with comatose patients. During his night shifts he has unsettling visions of someone drowning. He seeks his comfort in the company of his pregnant girlfriend. 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.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/waterdagen-teaser.jpg"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/waterdagen1.jpg"
|
||
}
|
||
],
|
||
"@reverse": {
|
||
"workFeatured": [
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "High Desert International Film Festival ",
|
||
"url": "http://routedunord.nl/portfolio-item/ruben-van-de-ven-2/",
|
||
"location": {
|
||
"@type": "Festival",
|
||
"name": "High Desert International Film Festival ",
|
||
"address": "Pahrump, Nevada"
|
||
},
|
||
"startDate": "2014-05",
|
||
"endDate": "2014-05",
|
||
"workFeatured": []
|
||
}
|
||
]
|
||
}
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "Co-Poet",
|
||
"dateCreated": "2012",
|
||
"url": "http://projectkaleido.nl/#copoet",
|
||
"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.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/copoet1.jpg"
|
||
}
|
||
],
|
||
"@reverse": {
|
||
"workFeatured": [
|
||
{
|
||
"@type": "ExhibitionEvent",
|
||
"name": "Crossing Border",
|
||
"location": {
|
||
"@type": "PerformingArtsTheater",
|
||
"name": "Leidse Schouwburg",
|
||
"address": "Leiden"
|
||
},
|
||
"startDate": "2012-11-14",
|
||
"endDate": "2012-11-17",
|
||
"workFeatured": []
|
||
}
|
||
]
|
||
}
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "Rangi Ya Samawati",
|
||
"dateCreated": "2012",
|
||
"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.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/samawati-prev2.jpg"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/samawati-prev1.jpg"
|
||
}
|
||
],
|
||
"video": {
|
||
"@id": "http://www.youtube.com/watch?v=D8pMy7xOZnI",
|
||
"@type": "VideoObject"
|
||
}
|
||
},
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "Virtual Afterlife",
|
||
"dateCreated": "2010",
|
||
"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? How can this virtual identity be shaped?\n2′10″",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/guerilla2.jpg"
|
||
}
|
||
],
|
||
"video": {
|
||
"@id": "http://www.youtube.com/watch?v=7Nk24Mh6uMc",
|
||
"@type": "VideoObject"
|
||
}
|
||
}
|
||
],
|
||
"contributor": [
|
||
{
|
||
"@type": "MediaObject",
|
||
"name": "The Spectacular Times",
|
||
"dateCreated": "2013-12-04",
|
||
"author": {
|
||
"@id": "http://www.wardgoes.nl",
|
||
"@type": "Person",
|
||
"name": "Ward Goes",
|
||
"url": "http://www.wardgoes.nl"
|
||
},
|
||
"url":"http://spectacularspectacular.news",
|
||
"description": "Originally initiated as a graduation project (cum laude) by Ward Goes, <a href=\"http://spectacularspectacular.news\">The Spectacular Times<\/a> is an ongoing visual inquiry into the presentation of news. It investigates how news, rather than being subjective, is representational of its social, cultural, (geo)political and ideological contexts. The project sets out to lay bare these representations in currently circulating news.\n\nBy layering and contrasting different news elements The Spectacular Times re-contextualises news and makes explicit the intangible notions that lie beyond an increasingly universal guise of news reporting. Not in an effort to tell apart true from false, left from right, or right from wrong, but in order to accentuate a variety of articulations of news.\n\nThis web based project uses user defined variables to animate news headers, texts and images, which are directly sourced from different news websites world wide. By adjusting these parameters (among which region, scope and speed) the spectator actively perceives how news content is de- and reformed through its aesthetics.",
|
||
"image": [
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/times1.jpg",
|
||
"caption": "The Spectacular Times"
|
||
},
|
||
{
|
||
"@type": "ImageObject",
|
||
"contentUrl": "assets\/image\/times2.jpg",
|
||
"caption": "The Spectacular Times"
|
||
}
|
||
]
|
||
}
|
||
]
|
||
}
|
||
}
|
||
}
|