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15 JANUARY 2016

Rick Smolan: The Human Face of Big Data

"The Human Face of Big Data is a multi-platform media project that explores the world of Big Data. The project’s intention is to start a global conversation about an information revolution that tracks our existence in ways never before possible. The book, interactive viewer app, iPad ebook and documentary invite us to consider the promise and the peril of humanity’s ability to collect, analyze and visualize the vast amounts of data generated by modern existence."

Video published on 24 Jan 2013

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TAGS

2012 • Against All Odds Productions • aging • big data • Bright Simons • child birth • cholesterol • chroniclecloud computing • counterfeit drugs • digital health • digital landscape • energy consumption • global projects • Gordon Bell • Jack Dorsey • Jennifer Erwitt • Katy Marriner • Marshall McLuhanmemorabilia • Mike Malone • mPedigree • MyLifeBits • new technologies • Nigel Holmes • personal monitoring device • personal photographs • personalised healthcarephotography projectsretirement communityRick Smolan • Said Business School • Sandy Smolan • Scott Wiseman • SenseCam • ShotSpotter • Silicon Valley Comes to Oxford • smartphone payments • Stephen Wilkes • study guide • tentacles • The Human Face of Big Data • Times SquareUniversity of Oxford • verification system • video lecture

CONTRIBUTOR

Simon Perkins
16 JANUARY 2010

Standard Gauge: examining the shards of the film industry frame by frame

"Standard Gauge is an autobiographical account of a few years in the film career of its maker. Such, at least, is its ostensible form and purpose. The material from which the film is composed is pieces of 35mm motion picture film, a width known in former times as standard gauge, that its maker collected while working in and around the commercial motion picture industry. The pieces are a miscellaneous assortment, and include narrative features, trailers, newsreels, commercials, and pieces of head and tail leader. ...

By examining the shards of the industry frame by frame, it discovers some of the means and themes of experimental film living, so to speak, in Hollywood. And at the same time, the film engulfs and usurps the material of the commercial motion picture industry, turning it into its subject. Thus Standard Gauge proposes a kind of mutuality or interdependence between two kinds of filmmaking that by conventional standards are thought to be divided by an unbridgeable chasm. By means of a mutual interrogation between 35mm, the gauge of the industry, and 16mm, the gauge of the independent and amateur, Standard Gauge proposes to unify film of every kind."

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16mm198435mmartefact • China girl • commentaryephemeraexperimental filmfilmfilmmaking • forensic • found footagefound imagesframe by framegleanerHollywoodindependent cinemamaterial culturememorabilia • Morgan Fisher • scavenged • Standard Gauge • stop frametechnologyvernacular photography

CONTRIBUTOR

Simon Perkins
29 JULY 2006

Scrapbooks: tools for collecting our personal material culture

"Scrapbooks comprise much of the 'material culture' of personal memory: they contain memorabilia of all sorts, and photographs of people and occasions that are important in the individual's life. In this sense, they are the 'analog', nonverbal form of a diary or journal. Michele Gerbrandt, edits Memory Maker, a magazine devoted to 'scrapbooking' that began in 1996. In Scrapbook Basics: The Complete Guide to Preserving Your Memories (Memory Makers Books, 2002), Gerbrandt suggests that scrapbooks have their origins in the 'commonplace books' in which people collected literary passages, quotations, ideas, and observations for personal reflection. She reports that in 1709, the British philosopher John Locke (posthumously) published a New Method of Making Common–Place Books (sometimes included in editions of Locke's 1690 Essay Concerning Human Understanding). The common–place book eventually evolved into the modern scrap–book. In 1872 Mark Twain, who owned a publishing firm, marketed a 'self–pasting' scrap book. Scrapbooks document personal and family histories, and record experiences, good and bad, for later reflection. Many personal websites, not to mention weblogs (or 'blogs'), have a certain 'scrapbook' quality."

(John F. Kihlstrom, University of California, Berkeley)

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blogcommonplace bookcommonplacesdiaryephemera • John Kihlstrom • John LockejournalMark Twainmaterial culturememorabiliamemoryquotationreflectionscrapbook
08 JANUARY 2004

Their Things Spoken: a catalogue of Their belongings

"Their Things Spoken by Agnes Hegedüs refers to the gulf between the conservation and valuation of officially recognized cultural representations and the information content of bearers of personal significance originating in apparently unimportant, unknown biographies. The artist distributed among visitors to the ZKM a leaflet asking, 'Why not put your favorite object in a museum?' This question stimulated the museum visitors to reflect upon rituals of appreciating and keeping, and to relate the museum exhibits to the relics to which they attribute private significance.

Using a Polaroid camera to document contributors and objects, and a tape recorder for their stories and comments, she imposed no restrictions on the choice of personal favorites.

Her concern was to warehouse the portraits of people and objects in the most neutral possible way, so that every image and statement is equally valid. The DVD–ROM storage medium allows the body of contributions to be archived exactly as they were documented. The stories stand for themselves and, like an atlas of everyday life, show a random collection of people whose relationship to the world is revealed through the objects they identify with."
(Ursula Frohne)

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02 JANUARY 2004

Things Spoken: a catalogue of Her belongings

"Most people collect objects during their lives. These can be gifts, souvenirs, momentos, personal artifacts, found things, etc. Their significance for their 'collectors' are usually contextual and personal.

This CD–ROM presents a selection of about 50 objects that I have collected, put together in such a way that the viewer can make an interactive exploration of both their singularities and their possible (inter)relationships. Each object has been digitized on a flat–bed scanner, whose consequent transformation of the original object is a form of aesthetic reconstitution characteristic for 'multimedia'. Embedded in a machinal darkness, the objects reveal themselves insubstantially, idiosynchratically in the reflected red, green and blue light of the scanning process.

The viewer can sort these objects by various criteria such as size, weight, colour, function, or such as in the case of gifts, the gender of the persons who gave them to me. In this way that 'feverish' method by which digital archives can be reorganised according to any criteria is here applied in a manner that is as gratuitously personal as the objects themselves.

Each object is accompanied by my personal narrative that led me to keep these often trivial things and by the account of friends. The third layer of interactivity comes from within these spoken narratives. Specific words are hypertextually linked to any reoccurences oaf those words elsewhere. In this way the viewer can instantly make links between objects and their associated stories. These chance conjunctions in the narratives amplify potential relationships that let the viewer discover further layers of congruency and signification within this very personal of objects."

(Media Art Net)

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