![“The key contribution [to ‘big data’] that artists can make is in helping to create meaning and poetry from these vast data fields.” —Nicola Triscott, founder of The Arts Catalyst
Nicola Triscott posted an update to her blog about Roger Malina’s keynote at ISEA2012 — Big Data, New Senses and the Avatar as Other in Cosmology. Triscott gives seven examples of art from data arrays including:
The Southern Ocean Studies by Tom Corby, Gavin Baily + Jonathan Mackenzie (also later shown in ISEA2011 in Istanbul) was a projection showing the currents circulating the central Antarctic land mass. These were generated in real-time and mapped against other environmental data sets – tidal flow, wind direction, geochemical and atmospheric flux – to produce flickering constellations of carbon circulation and wind direction. Watching the artwork, it is tempting to see the swirling forms as representative of an Antarctic wilderness, however the patterning effect is as much a product of human activities as natural ecologies. Whilst respecting the underlying science, the work sought to develop a sensibility to the dynamics of ecological complexity as pattern and felt experience rather than quantity and measure.
For more examples, read on…](http://24.media.tumblr.com/tumblr_mat6nhg4Fi1qz7y25o1_500.jpg)
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“The key contribution [to ‘big data’] that artists can make is in helping to create meaning and poetry from these vast data fields.” —Nicola Triscott, founder of The Arts Catalyst
Nicola Triscott posted an update to her blog about Roger Malina’s keynote at ISEA2012 — Big Data, New Senses and the Avatar as Other in Cosmology. Triscott gives seven examples of art from data arrays including:
The Southern Ocean Studies by Tom Corby, Gavin Baily + Jonathan Mackenzie (also later shown in ISEA2011 in Istanbul) was a projection showing the currents circulating the central Antarctic land mass. These were generated in real-time and mapped against other environmental data sets – tidal flow, wind direction, geochemical and atmospheric flux – to produce flickering constellations of carbon circulation and wind direction. Watching the artwork, it is tempting to see the swirling forms as representative of an Antarctic wilderness, however the patterning effect is as much a product of human activities as natural ecologies. Whilst respecting the underlying science, the work sought to develop a sensibility to the dynamics of ecological complexity as pattern and felt experience rather than quantity and measure.
