Suchergebnisse

This is research arm of the larger project, Seeing I: 7 days in VR. Seeing I: The Lives of Hounslow was a solo-exhibition at Waterman's Art Centre, London, that explored the real-life lives of people within the local community of Hounslow (south-west London). Wearing a custom developed pair of sunglasses fitted with covert miniature camera lenses and microphones, capable of recording a full 360° field of view, from first person point-of-view, for 24-continuous-hours, every aspect of Paul (62 year old retired mechanic), Niina (44 year old, single mother of 6), and Q's (34 year old swimming instructor) life were captured; from brushing their teeth, to riding their bike, to their work, social life, and children. Their everyday actions transformed into an act of sharing; nothing was edited out. Any editing took the form of self-censorship - and performance - as they determine which aspects of their lives they chose to share with the audience. Seeing I: The Lives of Hounslow was commissioned by Waterman's Art Centre, and supported by the European Media Art Platform with the support of the Creative Europe Culture Programme of the European Union.

Seeing I: The Protagonist is a research Arm of the larger project, Seeing I: 7 Days in VR. Culminating a residency with the European Media Artist Residency Exchange, as part of the Creative Europe Culture Programme of the European Union, 2020/21, Seeing I: The Protagonist was exhibited as part of the group show EMAP Gardens, at Ars Electronica Digital Arts Festival, 2021. The 24-hour, first person point of view life was shown of two people: Ibrahima (36), an asylum seeker from West Africa now living in north east England. Hilary (72), an Art Historian and part-time Senior-Lecturer living in London.

TEDxWarwick talk in 2017 at Warwick Arts Centre. In October 2015, artist Mark Farid shared with the world login details to all his online accounts — both personal and private — in an attempt to live without a digital footprint for 6 months. Through this practice, he examined the formation of our projected-self, and how our constructed identity is shaped by societal expectations. http://www.data-shadow.com 1st - 30th September 2016, Farid proceeded to broadcast all of his personal and professional emails, text and Facebook messages, phone and Skype calls, web browsing, and Social Media activity, in real-time, online. Any pictures or videos he captured appeared on his 'newsfeed', and his phones' location was updated every 20 minutes. In addition, any adverts generated by websites he visited were also broadcast. http://www.poisonous-antidote.com

To coincide with the final reading of the Investigatory Power Bill (Oct 2016), Poisonous Antidote was an online and physical exhibition exploring just how intimately you are able to comprehend a person - their humour, temperament and rationale - through only their digital footprint. From the 1st - 30th September 2016, www.poisonous-antidote.com was a live newsfeed of artist Mark Farid's realtime digital footprint. This included all of his personal and professional emails, text messages, phone calls, Facebook Messenger, web browsing, locations, Twitter and Instagram posts, as well as any photographs and videos Farid captured. Regardless of the time, duration, or intimacy of the content Farid amassed, there was no restriction on the content publicised. Besides the projected display at Gazelli Art House - in collaboration with designer and programmer Vicente Gasco - a 3D printer in the gallery space in London transformed the artist's data at 24-hour intervals, creating an expanding digital landscape: an abstract sculpture formed of 30 unique and adjoining parts, each modelling a day of Farid's digital life.

The opening two paragraph of the article: "we are regularly told that if we do not agree to the terms and conditions of a service online, we have the choice not to use it. Apple? Microsoft? Google? They pretty much all say the same, and that, in essence, is that they own every piece of data, including the account, and they can do whatever they please with both. In October 2015, in conjunction with my exhibition Data Shadow, I gave a talk at the University of Cambridge's Festival of Ideas, titled "Anonymity is our only right, and that is why it must be destroyed". At the end of the talk, I shared all my login details with the audience. This included all my personal and professional email addresses, my Facebook, Twitter and LinkedIn profiles, my Apple ID, and my (closed) online banking details. "

To coincide with the first draft of the Investigatory Powers Bill (Nov 2015), Data Shadow was an interactive art instillation commissioned by Collusion, in partnership with Arts Council England, the University of Cambridge and The Technology Partnership. Located in All Saints Gardens, Cambridge, all visitors were required to interact independently with the installation, entering one at a time. On entering the 8 x 2m shipping container, the participant was greeted by a woman holding a contract of consent. Until signed, the woman remained silent, directly staring the individual in the eyes (a physical manifestation of Terms & Conditions). Once signed, candidates proceeded to join the WiFi. Participants progressed to the second half of the container, divided by a partitioning door. With sensors tracking the participant's movements, their realtime (digital) shadow was cast by a projection on two, facing walls - one filled with 1000 characters from their most recent text or WhatsApp messages, the other a collage of 64 images from the participant's mobile phone.

Artist Mark Farid presenting his research so far in the development of Seeing I. This included development on the 360 degree, first person point of view recorder, along with research done onto Farid in the effects of long-term immersion in virtual reality experiencing the lives of other people.

The opening paragraph of the article: "Last week, I gave up my entire digital identity. That is, during the course of a panel discussion entitled, "Data Shadow: Anonymity is our only right, and that is why it must be destroyed" at the Cambridge Festival of Ideas, I gave out to the audience my login details for everything, from my Just Eat account details to my Facebook account to my Apple ID. Within minutes, one person had changed my Gmail and Hotmail details, and another had altered my Facebook and Twitter passwords. Apple ID followed suit moments later. That was it. I was offline and had no means of getting those details back."

Profile Picture was as solo exhibition at arebyte Gallery as part of Hackney Wicked Arts Festival, 2014. Profile Picture took a picture of participants, and asked participants to allow regular Facebook API access to their Facebook Profile information. Participants were then encouraged upstairs to the main exhibition space, where the exhibition space was filling up with receipts hanging from the ceiling, printing off participants photograph and Facebook data, which included, but was not limited to your name, age, last three things you've posted, your last 3 conversations with people of Facebook Messenger, and an assortment of other personal information - your likes, dislikes, most commonly interacted people on Facebook etc. Participants progressed to the second half of the container, divided by a partitioning door. With sensors tracking the participant's movements, their realtime (digital) shadow was cast by a projection on two, facing walls - one filled with 1000 characters from their most recent text or WhatsApp messages, the other a collage of 64 images from the participant's mobile phone.

Two years after artist Mark Farid broadcast all of his digital communications online, in real-time for one month for the project Poisonous Antidote. All of Farid's personal and professional emails, text messages, phone calls, Facebook Messenger, web browsing, locations, Twitter and Instagram posts, as well as any photographs and videos Farid captured. Regardless of the time, duration, or intimacy of the content Mark amassed, there was no restriction on the content publicised. Continuing the theme of the project - just how intimately can you know someone through their only their digital footprint - film-maker, Sophie le Roux collated and assembled the relevant information from Farid's digital footprint to make the Poisonous Antidote film.