![]() ![]() They appear to be regular buildings on the outside, but they are something else behind a magic protective shield. Offshore bakery refers to an alternative reality of the Old Bakery Street in Valletta where once were bakeries, now are offices. The work looks at offshore schemes and the global spider-web of interconnected companies. Scaffolding 180 cm x 5 pieces, four UV printed synthetic curtains 180 x 180 cm, silver fabric, chocolate (consumable) bitcoin, Video : single channel, 4K, 12 min Leaving a space for speculation on whether Cotten can be found in the cloud of afterlife or in a safe haven with a new identity mixed in between digital nomads, whose life in the video consists of aimlessly filling their time with self care between crypto price jumps. Gerald Cotten’s remarkable ability to be both alive and dead in the mind of the redditors transforms him into a Schrödinger’s quantum phenomenon. This work looks at crypto heaven and crypto haven as places where “deceased” CEOs go. The crypto-realm seem to function on a quasi-religious premise of belief in digital money – money that only exists when enough people assert and legitimates its realness via the blockchain. Here, the corporeal event of bodily death suddenly clashed with – and superseded – the seeming immateriality (on the first glance) of the crypto world. Communicating about my character in words I also use but can not understand.Ĩ″ tablets, animation vertical 20 sec, HDĭeath is a rare phenomenon in the cryptocurrency world, although exit scams are not. The tablets display the results of my character analysis swinging between altruism and selfishness, neuroticism and conscientiousness, displaying my moods and unconscious activity. ![]() This research is what Cambridge Analytica based their data collecting model on. Taking instagram advert markers from January 2018 until December 2019 from my Instagram account and exporting them to be analysed via Cambridge University’s Psychometrics Center website in equal parts, with that creating psychological profile of a person I was in slices. In a way, we are always at work for them. ![]() Algorithms built by humans talk to other algorithms through our tracking history, categorising, simplifying our complex selves to words that when analysed by different algorithms indicate our mental state, our concerns and our political preferences. We are the data, the 21st-century gold - gentle scrolling ads to the wealth of the machine owners. They are building memory storage of social media activity, adding words that are not known to the user but are indicators for other machines of the activity carried out. A gentle hover over a post by a user, causes another marker to be added. These machines create biased data portraiture of advertisement markers that are interpreted in clusters. The work looks at machines looking at us – looking, tracking, categorising, talking about humans behind our backs. What’s the word for the sound of infinite scrolling? A shirtless man posing on a club advertisement was labelled as ‘serious’ and ‘fine-looking. The same level of evaluative descriptor in the case of a male image was achieved very rarely, compared to the images of women that did not project any sexualised undertones. However, when the algorithms described images of women, they used evaluative descriptors in most cases. The services were quite unbiased when describing nonhuman and male objects, meaning the service did not use evaluative descriptors like ‘pretty’, ‘good looking’, or ‘sexy’, when describing nature, cityscapes or men wearing clothes. In the creation of the work, a number of images of the artist were taken which were processed through multiple machine learning services that describe imagery. Arranged into an ambiguous form that could be interpreted as a shrine, as a memorial, or as a futuristic display, the work engages with the inherent biases of commercial facial analysis and image-description services that are trained on data sets (such as ImageNet) and explores the consequent bias that comes with those data sets. ![]() The work addresses the algorithmic bias of commercially available image description and image creation services. ![]()
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