THE DATA WE DON’T SEE
| Giorgia Lupi at Eyeo 2018 |
An award winning information designer, Giorgia challenges the impersonality of data, designing engaging visual narratives that re-connect numbers to what they stand for: stories, people, ideas. Through her professional and artistic practice over the years, she’s learned that data not only can describe the objective world, but it can especially grasp and illustrate aspects of our life that we hardly associate with numbers. Presenting her most recent projects and collaborations, she shares how she looks at data as a lens to better understand our human nature, and explore ways to humanize data so it speaks our language. She also provides a look into her ongoing experiments in representing data to evoke empathy and emotions besides providing knowledge and understanding and transform even the driest quantitative analysis into a moment of humanity and poetry. Hear how she’s developed and narrowed the focus of her research and the craft of her practice, and about an endless fascination for all the data we don’t see.
DATA, MUSIC, AND EMOTION
| Hannah Davis at Eyeo 2018 |
Hannah is a programmer and generative musician. Her work falls along the lines of music generation, data sonification, artificial intelligence, and sentiment analysis. In this talk, she shows her experiments in generative music - from translating books into music based on their emotional content, to creating musical stories from historical sound samples, to creating melodies from interesting datasets, to more recent experiments in generating music from video. She also talks about the overlaps with data sonification, machine learning, and subjective data, and about invisible structures that can create meaningful output.
IN EMERGENCY BREAK GLASS
| Carmen Aguilar Y Wedge and Ece Tankal at Eyeo 2018 |
Hyphen-Labs experiments in immersive, computationally-driven, large scale installations that combine conceptual art, design and science. Hear about their co-collaboration and the use of emerging technology in their recent projects, highlighting themes of privacy and surveillance through the lens of speculative design, objects, neuroscience, architecture and virtual reality. Co-founders Carmen and Ece discuss the design processes behind their recent project, NeuroSpeculative AfroFeminism; the first chapter of a science fiction story placing you in Brooks’ “neurocosmetology lab.” Here, instead of ordinary braids, customers are fitted with transcranial electrodes that combines brain optimization research with timeless black hair rituals. hyphen-labs.com twitter.com/hyphen_labs
THROUGH THE MEMBRANE
| James Paterson at Eyeo 2018 |
James is a Montreal-based artist and creative technologist whose work hangs out at the intersection of drawing, animation and code. Each of these mediums offers limitless room for exploration, but when braided together they can open up wormholes of creative possibility.
This talk is about skipping back and forth through the membrane between physical and virtual worlds, exploring the relationship between traditional art mediums like drawing, animation and sculpture, and emerging ones like VR, AR and 3D printing/scanning. New technologies are spraying out of the firehose at breakneck speed. While it can feel bewildering at times James believes these new forms are ripe for creative exploration. How can we use them to express ourselves in ways previously unimaginable?
| Jane Friedhoff at Eyeo 2018 |
Jane is an interdisciplinary creative researcher and an independent game developer, intent on blurring the lines between as many media and genres as she can. Her work focuses on how we can explore and push the affordances of a given medium--new or old, digital or analog--to create new, unusual, and surprising relationships between people.
In this talk, she explores the notion of games as power fantasies and their capacities for change--explicitly not "change" in a metrics-based or productivity-oriented way, but rather as a medium to point to and explore alternate worlds and ways of being.
‘When we talk about games as power fantasies, we tend to have one vision of that fantasy in our head, fueled by the larger industry's obsession with the stereotypical straight white male consumer. But what happens when we start to define power fantasies differently--in a way that forefronts folks more at the margins? What does it mean to create worlds in which we can embody power we've lost, or never had in the first place? And what on earth does any of this have to do with games about whacking Nazis with handbags, stealing back your lost wages, or dancing so hard you destroy the earth?’