Black Founders Programme
The Black Founders Programme is an accelerator targeted at pre-seed or seed stage, Black-founded companies creating innovative products and services...
Digital Catapult and the Open Data Institute (ODI) begin 2019 with a series of events that delve into the relationship between arts and technology. The first event in this series will discuss how artificial intelligence interacts with art and the creative industries. The events will be based on Hybrid Landscapes, an exhibition at Digital Catapult which presents 11 pioneering artists working with digital media.
What does ethical AI look like?
How does increasing integration and application of AI into our daily lives force us to consider what we mean by intelligence? What changes and challenges does it present to artists in creating their work? What key questions are artists asking industry to consider? Our event will pose these questions and others to uncover the potential impact of AI.
More about Hybrid Landscapes
As our experience of life plays out simultaneously across natural, built and connected worlds, new perceptions and perspectives are created. The eleven artists featured in Hybrid Landscapes work with a range of artistic mediums – from photography and sculpture to software and code – and each has their own area of research. The artworks are unified by an approach that offers new ways to imagine, inhabit and locate individuals within emerging hybrid terrains. Together their works consider some of the key social and cultural questions we might ask ourselves about emerging digital cultures, products and applications, offering both complementary and alternative views.
Agenda
- 17:30 – Guests arrive, private viewing of the exhibition (arrival drinks & canapes)
- 18:30 – Welcome from moderator (Hannah Redler Hawes, ODI Associate Curator)
- 18:30 – Panel discussion & talks
- 20:00 – Networking, private viewing (drinks & canapes)
- 20:30 – Event concludes
Key speakers
Lewis Bush, Photographer
Lewis Bush is a photographer, writer, researcher, and educator. His photographic practice primarily explores ideas about the way power is created and exercised in the modern world and increasingly also engages with questions about how to represent issues which are nebulous and complex. His Shadows of the State photobook and installation (2017) in the Hybrid Landscapes exhibition occupies a place where paranoia and conspiracy collide constantly with objective fact.
Thomson & Craighead, Artist
Thomson & Craighead explore the ways in which our lives and experiences are mediated by technology. Their work raises questions about what it means to aggregate and interconnect large bodies of information, inviting reflection on how mechanisms like the World Wide Web extend and distort our understanding of the world around us. They make sound, video and sculpture with materials including found YouTube footage, search-terms and extracted texts from individual and corporate contributors to online media. Corruption 2014, which features in Hybrid Landscapes harnesses lenticular technology to display twelve frames from a corrupted video file, which visitors activate with their physical movement.
Libby Kinsey, Head of AI & ML, Digital Catapult
Libby is part of the AI & ML team at Digital Catapult. Her career so far has been in deep tech VC and machine learning consulting. She writes about machine intelligence on Twitter and Medium:
Anna Scott, Head of Content, Open Data Institute (ODI)
Anna Scott manages and produces content across the ODI’s programmes and platforms, and is and open data trainer under the ODI Registered Trainer badge.
Her background is in human rights and global development. Before joining the ODI, she was a journalist at the Guardian, where she wrote and commissioned content on broad issues, from aid transparency to global health. Previously, she helped set up the Europe office at the Center for Global Development, where she handled policy outreach and produced the popular podcast, Development Drums.
Suzanne Treister, Artist
Suzanne Treister utilises various media, including the Internet, digital technologies, photography, drawing and watercolour to disrupt usual habits of thinking and suggest alternative pathways. Initially recognized in the 1980s as a painter, she became a pioneer in digital, new media and web-based fields from the beginning of the 1990s, making work about emerging technologies, developing fictional worlds and international collaborative organisations. In 2014 she coined the term Post-Surveillance Art as the title for her series of Photoshopped poster works that explore the post-Snowden age and are part of the Hybrid Landscapes exhibition.
Next steps
If you would like to attend this event, please register your interest.