 Mae'r Ffodol Cymru Yng nghymru mae'r ffordd yn ffwrdd ymgyrch yn ymgyrch ar y Ffodol Cymru ac mae'r ffordd yn yn gwybod y dyfu, a gafodd Gavyn Stark yma ar y ceoedd ymwybodaeth yn cael ei fod yn cael ei ffodol ymddangosol a wneud yn ei bwysig, felly'r mynd i'n ymddangosol ym mfodol yma, ond yn ymddangosol y byddai'r ffrindigol ymddangosol ymgyrch ar y cyfansol, wrth gwrs maen nhw'n ddweud o hyfforddoddol yn ymlaen nhw'n ddwyliadol a'r ddwyliadol. Rydych chi'n ddweud o Gweithffordd. Dwi'n ddweud'r ddwyliadol? Nod, rwy'n ddweud. Mae'r ddwyliadol. John Thompson, Alesson Cracad, ac Natasha Carrawanner. Rwy'r ffordd ymlaen nhw'n gweithredig iawn. Rwy'n gweithio'r ddwyliadol, rwy'n gweithio'r ddwyliadol ac o ddwyliadol. But this year we wanted to bring artistic practice into the heart of the Open Data Institute. And we didn't look for artists who had already been working with open data. We wanted artists who hadn't worked with open data. So we wanted to bring some really fresh thinking. But the thing about Thomson and Crégett and Natasha is that they've all been working with the structures and processes of the internet and exploring network culture and their work. ..i'r ffordd o'r gweithio. Felly, rwy'n gweithio bod ydych yn fawr yn fawr yn gyffredig... ..y hoffi'r ddweud o'r cyfnodd. Rwy'n gweithio i'r ddweud o'r ddweud o'r ddweud... ..o'r pethau. Felly mae Dr Mark Wright o'r FFAC Lab... ..y'r Universtiynau Llywodraeth. Yn Alex McLean, ych yn artist... ..y'r ddweud o'r ddweud o'r Llywodraeth... ..o ddweud o'r ddweud o'r ddweud o'r ddweud. Felly, roeddwn i Natascia. Felly, rwy'n Grun 18. Rwy'n ni gweithiol gwirionedd mwy o ddweud... ..y'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud... ..on, am y ysgol yn y byd. Felly plant yn gyffredig iawn. Felly maen nhw'n ddule'r d� �m. Rydw i'n rhaid am y gallu yr unig... ..rhywbethol, sydd i ni'r ddweud o'r ffordd... ..o'r ffrьюn a ganddid. Mae'r rhaglen ydw i'n ddweudio'r ddataeth gan ymlaen â'r tŷn ddweudio ar y cyfweld. Mae'r ddweudio ar y cyfweld yn argynno mae wneud yn ddweudio'r ddweudio ar y cyfweld. Rwy'n ddweudio ar y ddweudio ar y cyfweld, mae gennych arwinellio'r ddweudio'r ddweudio. Felly, mae'r ddweudio'r typologaeth dech minimios 202 o'ch ddweudio, a defnyddio'r gaweithredu o ddweud hynny yw'r image ym mhyself-gadeidwyr. Ond yw, ddiwedd o bobl yma, ydych chi'n angen ei ungedd, dywedd yn angen ei ffap codi adroddol arfer y ddweud. Rydyn ni'n peron ei wneud i'r internetu i fod yn cael ei roi'r haf-wyrdd yma'r gwneud wedi'i rydyn ni, i'r newid yw'r gwneud, y dywedd yn ei wneud. Mae'r image yn eu defnyddio yma yn allan i ddweud. Ydw i'r ddweud wedi wneud yn y croff, ac wedi cael ei ddysguadau. Rwy'n cael ei ddod gweithio'r wgwlad 2. Rwy'n cael ei ddod gweithio, mae hynny wedi bod y ffordd, mae nad yw ymddirgyn iawn, mae Y Ashley Madison heddiw, ac mae gennymai y ddiwedd Llyfrgell ac mae wedi eu ddweud iawn, ac mae'r ysgrifennu yw'r ysgrifennu mewn gwirionedd menn. Ac rwy'n gweithio'n gweithio'n gweithio'r wath y byddraeth ymddir iawn i'r ddweud i ymddir gweithiau. Rwen d Arrow Walham yw'r cyfforddiad? Diwg chi, efo'r cygefnodupsid? Wrth mae'n cwnio am gwedd psgliad. Eleni'r cy reliedw wyddiant nad honi a adwiadod susniad dogg gall자�u gyda gofod i'w ddim yn posbanteft, eit Medicaid va ni eisiau yn ei ddergyl successes. Nawr i chi eto menig o'r cyrthύg, John Thompson y consecutive yefyd? Newn, dd Monstiwch. Felly we're going to try and introduce our practice in a minute, and with two pictures, and over to us. Okay, so the first picture, which should be behind me, is of a short film about war, and this is a video work, it's a two-screen video work, and what we've used is a series of first-hand accounts of war, and it's all the information that we've gathered online, and it's a method we call desktop documentaries. And with all everything we gathered, we tried to use, at that stage, it's about 2009, creative common attribute licenses. So all the still images you can see that are on the left-hand side were taken from the flicker community, offering a kind of collective gaze, and all licensed under attribution license, creative commons. If we go to the next slide please. This is a more recent work called Stutterer, where we've taken the human genome, or rather the first version of the completed human genome, and used it as a kind of musical score to play fragments of television that were all broadcast during the period, the 13 years or so, that the human genome, it took people to sequence the first human genome in the first place, so that's about 1990 to 2003. It's an instruction-based work, so on that site you can see letters T, A, G, C, it's playing from beginning to end, around about 3.2 billion characters, and each letter, as it comes up, triggers a video chosen at random from a database that says a word beginning with the letter T, A, G, or C, so things like terrorism, activity, Christianity, God, Golf. And it kind of stays in this sort of flux between things that are very meaningful and kind of meaningless. We worked out it would probably take about, or is going to take about 85 years to play from beginning to end. And it only plays once, but I have to remind myself that, only once. But the reason we're showing these two works is because for us, up until coming to be residents here at the Open Data Institute, these are two examples of times that we've really thought about open data, or about data that should be open. Thank you. And Dr Mark Wright. Hi. I work between FACT, which is a new media organisation in Liverpool, and Liverpool School of Art and Design at Liverpool John Moor's University, where I'm a lecturer in fine art, and that itself is a very exciting model to explore interdisciplinary collaboration between art and academia. My starting point is that the cultural significance of the digital is it brings about new forms of embodiment that make new forms of being and identity and thinking and doing come into existence. And so we have a new form of practice that isn't just about creating work on your own or throwing technology at something or exploring culture as it is at the moment, but actually performing interventions into culture and see what unfolds. So this is an example where we have a community of people whose children have a need for prosthetics. So we create a social technical system that allows them to create these prosthetics from open data on the web using 3D printing, et cetera. Next slide, please. So here's some examples of this kind of work. So we use this thing called FACT Lab, where we bring together art practice, curation and community engagement together with cross-disciplinary workers from other fields, whether they be academics or whatever, and have a user as a catalyst in which to explore culture in a more deeper and rich way. Thank you. Alex, if we could hear from you. Yeah, Alex. I'm also working across disciplines, including music. I work in the School of Music and the University of Leeds, but also choreography, computer science, textiles, which is hard to summarise in a minute, but I suppose the thing that connects them all is pattern, which I think of as the what's between code and perception. And here you can see a photo of a performance by me and my friend Matthew Yee King with both live coding. So that's where you use programming language as a performance medium. So I'm describing musical patterns using code while my computer is turning them into music. And in this case, while people are dancing to it at an event that's called an Algorave. Thanks very much. So you can find out more about that by searching for Algorave. So yeah, I guess I'll do. Yes, thanks very much. Give the last slide, please. So we're just going to have a really interesting conversation now. So one of the questions I wanted to bring, particularly to Natasha Allison and John, is first I started saying, well, now that you've spent time researching at the Open Data Institute, you've met our networks, you've met our experts, you've done the training, what's the specific unique opportunities that Open Data creates for artists? And I was quite quickly corrected for being a bit literal with that, where everybody on the panel, when I talked in advance, you've all said to me, it's more subtle than that. It's more like looking towards Open Data as best practice. So could you say a bit more about that, John and Allison? Yes, well, it's been pretty fantastic actually being at ODI, and we've learnt an awful lot during that time. One of the things as we researched Open Data, and you can see from our brief introduction that we had been considering the creative commons as a sort of maybe a place where we could draw material from. But as we learnt more about Open Data, we began to realise really for us it becomes a kind of critical position, if you like. It's a challenge that's been opened up for people to make a choice whether we work with information that has a kind of level of transparency and accessibility and usability, or we can have information that's traded like beans or something. And so what we began to look at was really this kind of position and the challenge and what that maybe means when we use it and present it within the context of an artwork. Yeah, and I think the other thing that I started to think about a lot more was really about the idea of certification as well, which is a lot of time is spent thinking about levels of Open Data and really beginning to get an understanding of this and being really exciting to be really early on at the beginning of something that is equivalent to maybe like, say the Starless Association in the 70s. Thank you, Natasha. Well, I feel for me there was a life before Open Data and a life after because I think now that I'm in the middle of my residency right now and every day I'm thinking of a new idea and my time is ticking because everything is so inspiring. I think before I was kind of embedded in it, I had that beauty of being an artist and just you can kind of like gravitate and dip in and dip out and now it's around me so much. I suppose I am thinking more about why I'm critiquing my own work more than I would have done in the past and actually was that the ethics that are involved now kind of thinking before when I went to meet those married men and I took photos of them without them knowing and I put that out there as a visualisation of what affairs look like today now that I've been amongst the Open Data and amongst the people then as you say the certification and the levels of open and closed and shared you know for me it's really, I'm not exactly sure where it's actually going to end up but it's about for me this idea that through the art practice you can actually look at the edges and I think looking in those cracks is something which I really like to occupy where people of course you can be open but then by being open there's also that blurred line and I think for me that's an area that's really fascinating. Thank you. Alex. I suppose live coding openness is the sort of baseline you have to, if you're doing a live coding performance you tend to project your code behind you and code is sort of a kind of data but a sort of higher order kind of data I suppose and so this is whole culture where we don't really talk about openness because it's just what we do but I don't think that's anything particularly new I think there's been plenty of well back to Neolithic times people making clothes out of thread and when you make a piece of fabric with a pattern that's really a sort of digital discreet piece of data and you can read it just by looking at it and people have always shared information with each other I guess now we need licences but that's only because other kinds of licences exist and work against us I think of it as something that is just part of our community but not something that's explicit but implicit. Yes and your community is quite unusual in the history of art in the whole notion of sort of original ideas the amount of sharing and exchange that happens so Mark you're working in a situation where the institution that you're working with is opening itself up in a very unusual way and crashing the barrier between so-called outreach and exhibition. Yeah so I think the old model of the wide cube is sort of dissolving as well as concepts of authorship and so one thing at the heart of that is what is knowledge and where does knowledge reside so we normally think in the scientific terms of it there's been an abstraction that we take out of the world that we can write down as equations or whatever but there's another form of knowledge which is tacit so there's the tacit skill of a craftsperson or there's the knowledge of a community and this is embedded fundamentally in a way that's very difficult to get at so you have to have a new practice which actually engages in vivo with those communities and creates these new forms of embodiment that I was talking about earlier and that's how we get out of that. That's great so another thing that came up when we were discussing in advance of the panel was the notion of the whole world suddenly becoming an archive and how that creates a whole set of assets of data if you like ideas that can be reconfigured and reconsidered so Natasha can I ask you to speak to the theme of new forms of narrative maybe in this networked world? I suppose new forms of narrative for me is very related to my practice of the beauty of having I suppose the internet as an archive now is that you can create new conversations you can actually put, you can just shift things such as everybody has an idea of what the wedding day is this tradition of you know you'll get the white dress and through the internet we're able to kind of through I suppose a new form of anthropology that's how I kind of see myself as the idea of the anthropology of actually studying people you know they're putting their images out there and this level of me collecting those images so kind of appropriating those images and re-presenting those images I would never have been able to have access of those photographs I would never be able to create a document of between 2011 between 2013 that moment where people were masking their own faces on their wedding images which became because of Kate and Will's wedding so because of the pressure of the marriage and the wedding today that you can be a princess too at that particular point women were spending too much money on their dress and then they were recouping it afterwards and only through the internet are you able to get that amazing position, amazing access to those narratives in people's homes and they're putting them out there and you can re-present them to an audience to get them to rethink such big themes as the wedding day So being authors of new stories about ourselves Alison and John do you want to say something because narratives are really central to your work and that's always been a running theme where you've looked at how the network changes that I mean I think we've always been really interested in trying to pull narratives from the web isn't it, that's always been a string so I think quite early on we did a work called a short film about flying which really set us on to making something a little bit more substantial called a short film about war and I think for us we just really wanted to be able to have a conversation with people or to have a first-hand account of war mainly through accidentally being stuck on a plane with a soldier who was coming back and actually just having that first-hand account made me want to have more first-hand accounts of war I think with the short film about war as an example it's a two-screen work and what we're interested in is finding things that exist out there already and thinking about our agency as artists as how we stitch this material together and also how it's mediated how it's kind of transmitted from one place to another like Natasha I'd say we both think of ourselves as participant observers in that kind of anthropological sense so we are putting stuff out there as well but with the short film about war we present the same information simultaneously on two screens but in different forms so on the left you have this kind of these still images voice-overs coming from blogs and a soundtrack it's kind of constructed almost fictionalisation of these real experiences and then on the right-hand side there's just a text dump it's just all the URLs, it's all the locations it's all the GPS of everything that comprises that what you're seeing constructed on the left-hand side so the viewer is left in a kind of flux of sorts where you're seeing the same thing at the same time and one's kind of pitted against the other and perhaps undermining the other and maybe you can kind of think through watching that about how things become to mean things and how things become meaningful even when they come from disparate sources and distributed networks Mark Yeah, there's a famous essay called Walking the City by Michel Ducerteau where he talks about the invisible people walking through the city as invisible authors that don't even know that they're authors and what I think Open Data does and the digital does is it makes those makes visible those authors and makes them aware of their creativity and I was looking at that some of my work involves James Joyce and Ulysses and he used what I think of as the second state of language after the spoken word which was the written word he used documents about Dublin to create his amazing his amazing flights of fancy in these multiple non-linear narratives but what we have now is the third state of language which is the algorithm code is language which does stuff and so we have this more fluid concept of language which gives us this much bigger space of what narrative is That's a great lead to give Alex the last word I suppose I'm just going to make a quick abstract point which follows from that I think about timelessness of data that you can kind of step out of the base of narrative of progress and yeah think about things in more cyclic ways, look at historical data yeah and stop thinking so much about growth but more about reflection Thank you so much I hope you've had a little bit of an insight to the artists as the original code breakers the people who sort of shake it up and work between the cracks and see things differently and thank you all so much and please talk to us afterwards because we don't have time for questions Thank you