SILKY SOFT BIOMETRICS
An audio work reinterprets ‘Terms and Conditions’ to stage a dialogue around the expectations we have for the uses of our data and how we as subjects hope to be perceived online. It asks what it means to be complicit in the perpetuation of surveillance capitalism and whether we can inhabit our networked vulnerabilities differently, in order to redress the harms that occur on the Internet.
Referring to the outsourced labour of AI industries in which data annotation is a sub-minimum-wage online task, the performance takes place in domestic home office settings, with a table, chair, keyboard and a word processor. I write texts, which are projected for the viewers to see as they emerge and disappear. The choreography of texts responds to the viewers, playfully annotating their ‘soft biometrics’ (data that comes from human traits, but which cannot be used to identify the individual).
/ What are you if not evil?
Audio, video, text performance
for Virtual Listening Room with Internet Sound Collective EBM(T)
Part of Somerset House Studios resident Mutant Promise' online series.
In intimate, one-on-one Zoom performances, the participant is invited to leave their video camera on, so that their "emotional data" can be annotated. The performance itself takes place on the performer's shared screen. A visible word processor shows the immediate, textual response to the participant's video; the resultant texts are illustrated by a personal archive of candid photos, all of which probe the limits of faciality. The screen is recorded without the participant's video visible, leaving the writing body and the viewing public as data as spectral traces in the documentation.
/ What's a brown girl to do?
Audio, installation, text performance with full-body suit designed by Andrea Zabric and Gordana Bobojević (made in Atelier Bobojević)
for Haus Wien, Vienna-Simmering
In the context of Haus, the performance blurs boundaries between public and private domains and interrogates the notion of ‘privacy’ and its links to ‘property’, which obscures how digital technologies function in our homes and on our bodies. It questions how our home ecologies are changing, e.g. as devices enter our most intimate spaces, and what new labour practices emerge as a result.
Critiquing artificial intelligence as a purely computational technique (thus, free of human labour), the performance emphasises forms of human agency that reproduce systematic failures in [facial] recognition and equal representation. Acknowledging differentiated vulnerabilities across racialised, gendered, sexualised, classed and differently abled bodies, it asks whether a kind of silky mis/recognition can bring us into and out of contact, allowing us to appear and disappear in a memory-storage culture that otherwise never forgets.