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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":"_:b59"}},{"@id":"_:b61","@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":"_:b62","@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":"_:b63","@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. 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.","https://schema.org/image":[{"@id":"_:b64"},{"@id":"_:b65"},{"@id":"_:b66"}],"https://schema.org/name":"Fragments of reality"},{"@id":"_:b64","@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":"_:b65","@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":"_:b66","@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":"_:b67","@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. 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.","https://schema.org/image":[{"@id":"_:b70"},{"@id":"_:b71"}],"https://schema.org/name":"Waterdagen"},{"@id":"_:b68","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2014-05","https://schema.org/location":{"@id":"_:b69"},"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":"_:b67"}},{"@id":"_:b69","@type":"https://schema.org/Festival","https://schema.org/address":"Pahrump, Nevada","https://schema.org/name":"High Desert International Film Festival "},{"@id":"_:b7","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/moodmeter2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/moodmeter2.jpg"},{"@id":"_:b70","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/waterdagen-teaser.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/waterdagen-teaser.jpg"},{"@id":"_:b71","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/waterdagen1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/waterdagen1.jpg"},{"@id":"_:b72","@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":"_:b75"},"https://schema.org/name":"Co-Poet","https://schema.org/url":"http://projectkaleido.nl/#copoet"},{"@id":"_:b73","@type":"https://schema.org/ExhibitionEvent","https://schema.org/endDate":"2012-11-17","https://schema.org/location":{"@id":"_:b74"},"https://schema.org/name":"Crossing Border","https://schema.org/startDate":"2012-11-14","https://schema.org/workFeatured":{"@id":"_:b72"}},{"@id":"_:b74","@type":"https://schema.org/PerformingArtsTheater","https://schema.org/address":"Leiden","https://schema.org/name":"Leidse Schouwburg"},{"@id":"_:b75","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/copoet1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/copoet1.jpg"},{"@id":"_:b76","@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":"_:b77"},{"@id":"_:b78"}],"https://schema.org/name":"Rangi Ya Samawati","https://schema.org/video":{"@id":"https://rubenvandeven.com/samawati/video"}},{"@id":"_:b77","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev2.jpg"},{"@id":"_:b78","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/samawati-prev1.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/samawati-prev1.jpg"},{"@id":"_:b79","@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? How can this virtual identity be shaped?\n2′10″","https://schema.org/image":{"@id":"_:b80"},"https://schema.org/name":"Virtual Afterlife","https://schema.org/video":{"@id":"https://rubenvandeven.com/assets/video/guerilla_project.mp4#videoobject"}},{"@id":"_:b8","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/moodmeter3.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/moodmeter3.jpg"},{"@id":"_:b80","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/guerilla2.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/guerilla2.jpg"},{"@id":"_:b81","@type":"https://schema.org/Person","https://schema.org/author":{"@id":"https://rubenvandeven.com/pillow-talk"},"https://schema.org/name":"Begüm Erciyas","https://schema.org/url":"https://www.begumerciyas.com"},{"@id":"_:b82","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2019-05-20","https://schema.org/location":"KVS, Brussels","https://schema.org/name":"Kunstenfestivaldesarts","https://schema.org/startDate":"2019-05-15","https://schema.org/url":"https://www.kfda.be/en/program/pillow-talk","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b83","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2019-06-16","https://schema.org/location":"Münchner Kammerspiele","https://schema.org/name":"Festival Politics of Algorithms","https://schema.org/startDate":"2019-06-14","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b84","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2019-08-31","https://schema.org/location":"Radialsystem, Berlin","https://schema.org/name":"New Empathies Program Series","https://schema.org/startDate":"2019-08-29","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b85","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2019-11-16","https://schema.org/location":"Theatre Nanterre-Amandiers, Paris","https://schema.org/name":"New Settings/Fondation d'Enterprise Hermés","https://schema.org/startDate":"2019-11-13","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b86","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2019-11-31","https://schema.org/location":"Kortrijk","https://schema.org/name":"NEXT Festival","https://schema.org/startDate":"2019-11-29","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b87","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2020-02-28","https://schema.org/location":"Moscow","https://schema.org/name":"Winzavod Art Center","https://schema.org/startDate":"2020-02-14","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b88","@type":"https://schema.org/TheaterEvent","https://schema.org/endDate":"2020-03-20","https://schema.org/location":"Leuven","https://schema.org/name":"STUK","https://schema.org/startDate":"2020-03-19","https://schema.org/workFeatured":{"@id":"https://rubenvandeven.com/pillow-talk"}},{"@id":"_:b89","@type":"https://schema.org/VisualArtsEvent","https://schema.org/name":"Residency: PACT Zollverein","https://schema.org/startDate":"2019","https://schema.org/url":"https://www.pact-zollverein.de/en"},{"@id":"_:b9","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/moodmeter4.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/moodmeter4.jpg"},{"@id":"_:b90","@type":"https://schema.org/VisualArtsEvent","https://schema.org/name":"Residency: Buda","https://schema.org/startDate":"2019","https://schema.org/url":"https://www.budakortrijk.be/en/residenties/beguem-erciyas-tr-hugvie"},{"@id":"_:b91","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/pillow_talk01.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/pillow_talk01.jpg"},{"@id":"_:b92","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/pillow_talk02.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/pillow_talk02.jpg"},{"@id":"_:b93","@type":"https://schema.org/ImageObject","https://schema.org/contentUrl":"/assets/image/pillow_talk03.jpg","https://schema.org/thumbnailUrl":"/assets/thumb/pillow_talk03.jpg"},{"@id":"_:b94","@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, <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.","https://schema.org/image":[{"@id":"_:b95"},{"@id":"_:b96"}],"https://schema.org/name":"The Spectacular Times","https://schema.org/url":"http://spectacularspectacular.news"},{"@id":"_:b95","@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":"_:b96","@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":"_:b97","@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":"_:b98","@type":"https://schema.org/Hogeschool voor de Kunsten Utrecht","https://schema.org/addressLocality":"Utrecht","https://schema.org/educationalCredentialAwarded":{"@id":"https://rubenvandeven.com/degree/avm"}},{"@id":"_:b99","@type":"https://schema.org/Twente University","https://schema.org/addressLocality":"Enschede","https://schema.org/educationalCredentialAwarded":{"@id":"https://rubenvandeven.com/degree/mechanical-engineering"}},{"@id":"https://rubenvandeven.com/","@type":"https://schema.org/Person","https://schema.org/email":"info@rubenvandeven.com","https://schema.org/jobTitle":"digital artist / researcher of software culture","https://schema.org/name":"Ruben van de Ven","https://schema.org/nationality":"The Netherlands"},{"@id":"https://rubenvandeven.com/2018/data-flaneur","@type":"https://schema.org/Event","https://schema.org/alternateName":"Data Flâneur - seeing and being seen in the data driven city","https://schema.org/description":"Inspired by Alison Powell’s ‘data walk’, the <em>Flaneur</em> twists her concept by not only making participants aware of data collection within the city, but also by making them experiment with data collection for their own purposes. By zooming in on the procedures of selection, classification and digitisation, participants experience the intricacies of data collection.","https://schema.org/endDate":"2018-11-04","https://schema.org/name":"Data Flâneur","https://schema.org/organizer":{"@id":"https://rubenvandeven.com/plottingdata"},"https://schema.org/startDate":"2018-11-04","https://schema.org/superEvent":{"@id":"https://rubenvandeven.com/exhibition/hello-world"},"https://schema.org/url":"https://creativecodingutrecht.nl/2018/10/20/the-data-flaneur-seen-and-being-seen-in-the-data-driven-city-tour/"},{"@id":"https://rubenvandeven.com/2018/digital-cultures","@type":"https://schema.org/Event","https://schema.org/about":{"@id":"https://rubenvandeven.com/plottingdata"},"https://schema.org/description":"As Plotting Data, we gave a presentation at the Digital Cultures Conference","https://schema.org/endDate":"2018-09-22","https://schema.org/location":"Leuphana University, Lüneburg","https://schema.org/name":"Digital Cultures: Knowledge / Culture / Technology","https://schema.org/organizer":"Centre for Digital Cultures & Institute for Culture and Society","https://schema.org/startDate":"2018-09-19","https://schema.org/url":"https://digitalculturesconference.org/"},{"@id":"https://rubenvandeven.com/2020/acts-of-collection-and-omission","@type":"https://schema.org/Event","https://schema.org/about":{"@id":"https://rubenvandeven.com/plottingdata"},"https://schema.org/description":"The event will host three rounds of conversations that will introduce various datasets and artistic ways of interfacing them.\n\nAlgorithmic models learn to distinguish patterns and make predictions by attempting to imitate existing structures in vast collections of data. In the process of creating these datasets, conflict and ambiguity are omitted in favour of turning the world into its computable double. How do we bring forth narratives that make other interpretations possible?\n\nPlotting Data was a series of workshops held by Cristina Cochior & Ruben van de Ven in 2019, which explored the biases and tensions within datasets that underlie systems for automated decision making. Discussions, presentations and performances fed into the creation of digital interfaces that emphasise the inherently performative characteristics of datasets.\n\nThis final event marks the end of this project and the release of the Acts of Collection and Omission digital publication. Two tables will be hosted by invited artists Julie Boschat Thorez & Sami Hammana and Nicolas Malevé, while the third table will give an overview of the publication.","https://schema.org/endDate":"2020-03-11 22:00","https://schema.org/location":"Framer Framed & Netwerk Democratie, Amsterdam","https://schema.org/name":"Acts of Collection and Omission","https://schema.org/organizer":"Centre for Digital Cultures & Institute for Culture and Society","https://schema.org/startDate":"2020-03-11 19:30","https://schema.org/url":"https://digitalculturesconference.org/"},{"@id":"https://rubenvandeven.com/article/choose-how-you-feel-you-have-seven-options","@type":"https://schema.org/Report","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 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.","https://schema.org/name":"Longform - Choose How You Feel; You Have Seven Options","https://schema.org/publisher":{"@id":"_:b58"},"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/choose-how-you-feel-you-have-seven-options","@type":"https://schema.org/MediaObject","https://schema.org/artworkSurface":"3 projections","https://schema.org/author":{"@id":"https://rubenvandeven.com/"},"https://schema.org/dateCreated":"2016","https://schema.org/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.","https://schema.org/duration":"9M9S (∞ loop)","https://schema.org/image":[{"@id":"_:b29"},{"@id":"_:b30"}],"https://schema.org/name":"Choose How You Feel; You Have Seven Options"},{"@id":"https://rubenvandeven.com/degree/avm","@type":"https://schema.org/EducationalOccupationalCredential","https://schema.org/credentialCategory":"Bachelor of Arts","https://schema.org/hasCredential":{"@id":"https://rubenvandeven.com/"},"https://schema.org/name":"BA - Audio-visual Media","https://schema.org/temporalCoverage":"2009-2013"},{"@id":"https://rubenvandeven.com/degree/cddc","@type":"https://schema.org/EducationalOccupationalCredential","https://schema.org/credentialCategory":"Master of Arts","https://schema.org/hasCredential":{"@id":"https://rubenvandeven.com/"},"https://schema.org/name":"MA - Creative Design for Digital Cultures","https://schema.org/temporalCoverage":"2012-2013"},{"@id":"https://rubenvandeven.com/degree/mechanical-engineering","@type":"https://schema.org/EducationalOccupationalCredential","https://schema.org/credentialCategory":"Propaedeutic degree","https://schema.org/hasCredential":{"@id":"https://rubenvandeven.com/"},"https://schema.org/name":"Propaedeutic - Mechanical Engineering","https://schema.org/temporalCoverage":"2007-2009"},{"@id":"https://rubenvandeven.com/degree/media-design","@type":"https://schema.org/EducationalOccupationalCredential","https://schema.org/about":{"@id":"https://rubenvandeven.com/choose-how-you-feel-you-have-seven-options"},"https://schema.org/credentialCategory":"Master of Arts","https://schema.org/hasCredential":{"@id":"https://rubenvandeven.com/"},"https://schema.org/name":"MA - Media Design and Communication","https://schema.org/temporalCoverage":"2014-2016"},{"@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. 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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>. 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In the digital age it leaves us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. 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":"_:b91"},{"@id":"_:b92"},{"@id":"_:b93"}],"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":"_:b21"},"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/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 <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":"_:b6"},{"@id":"_:b7"},{"@id":"_:b8"},{"@id":"_:b9"}],"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"},{"@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"}]} |