@ -24,9 +24,9 @@ summary: This worksession intends to be a moment of collective learning, to make
This worksession intends to be a moment of collective learning, to make tangible invisible colonial mechanisms of hierarchy and oppression that are prevalent in everyday communication technologies, yet often difficult to comprehend.
On this day we will be joined by creative technologist and researcher Yasmine Boudiaf. In the morning, Yasmine will share her work on radical, ethical, data practice frameworks, propositions for how machine learning can be used in non-colonial (and therefore non-extractive) forms of archiving, and the mechanics of knowledge formation that affect our relationship with technology.
On this day we will be joined by creative technologist and researcher Yasmine Boudiaf. In the morning,Yasmine will present a series of artistic research projects exploring cultural (dis)connections across time and geography using AI and anti-colonial methods. As an Algerian and a creative technologist, Yasmine explores how she and other displaced peoples could reconnect with intangible heritage, reviving and contextualising shared cultural memories as well as building new collective approaches to AI practice. This presentation spotlights three of Yasmine’s current projects: 1) An Algerian Techno-Ritual; how can auto-ethnographic visual art be made without reproducing the colonial gaze? 2) Mediterranean Hand Gestures; this interactive project uses a camera to detect hand gestures and audio to produce corresponding verbal sounds. 3) AI Justice Matrix: The Futility of Policy Craft; an online platform and collaborative authorship project that invites the perspectives of practitioners concerned with our relationship with technology.
In the afternoon we will work through 'Listening Structures'. A research in practice, these exercises are a way to provide a space for ideas to sit and develop during group discussions. Intended as non-extractive, collective exercises, they move towards a decolonial, material-semiotic approach of knowledge co-creation.
In the afternoon we will interrogate themes from the presentation using 2D Listening Structures Yasmine developed as tools for collective imagining. As ideas travel through these structures, the nature of these ideas changes, with the output determined in the commons.
Our worksession will close with the open screening of selection of artist films that respond to themes of the day. We will share artist and filmmaker Riar Rizaldi's 'Fossilis' and more films TBA.
@ -34,6 +34,12 @@ Our worksession will close with the open screening of selection of artist films
*A glimpse into the far future: in search of the ultimate truth about the past, meditates with her brain-machine interface of a crude neural network, machine learning and virtual world-building, a paleo-media-ontologist—with the help of a researcher—digs and scavenging the imagination of the past to recontextualise and reflect what it is called fossil relic in their time; a mountain of invisible electronic waste buried in a tropical landscape of the South".* [Fossilis]
**bios**
Yasmine is an Algerian creative technologist and researcher based in London. She is a fellow of the Royal Society of Arts and the Ada Lovelace Institute and was recognised as one of '100 Brilliant Women in AI Ethics 2022'. Her projects interrogate the impact of new technologies on cultural life. She is currently developing a series of artistic research projects exploring cultural (dis)connections across time and geography using AI and anti-colonial methodologies.
Riar Rizaldi works as an artist and filmmaker. He works predominantly with the medium of moving images and sound, both in the black-box of cinema settings as well spatial presentation as installation.
The worksession is organised by amy pickles and Sofia Boschat-Thorez.
[alt text] poster is a collage of scanned shells, a diagram of how an ear works, graphic representation of database including the terms ‘user’ and ‘system administrator’, and two of Yasmine Boudiaf’s listening structures; ‘epistemologies’ and ‘deep fissures’. The title colonial infrastructures is written on the top, overlayed twice in pairs. Every layer of the collage has transparency and their colours are inverted.
