Identifiable  

KNITSONIK Stranded Colourwork Sourcebook, Felicity Ford, 2014. Crowd-funded publication

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

The Doffing Misstress Takes a Stroll, David Littler, 2016. Participatory installation. Piano player, paper scores, materials for contribution

The Doffing Mistress Takes a Stroll

David Littler

Re-knitting step by step guide, Amy Twigger Holroyd, 2012. Digital prints on paper

Re-knitting step by step guide

Amy Twigger Holroyd

{poem}.py

{poem}.py

Pip Thornton

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Rates for the Job, Sam Meech, 2016. Order form and performative contractual exchange action 

Rates for the Job

Sam Meech

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

Three Hundred and Sixty Seconds, Dan Hett, 2016. Algorithmically generated live coding production stills (from an ongoing series)

Three Hundred and Sixty Seconds

Dan Hett

Re-knitting 'tester' Jumper, Amy Twigger Holroyd, 2013. Hacked knitted garment

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Metrography, Benedikt Groß & Bertrand Clerc, 2012. Print on aluminium

Metrography

Benedikt Groß and Bertrand Clerc

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

20Hz, Semiconductor, 2011. HD + HD 3D single channel video. 05.00 minutes

20Hz

Semiconductor

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

Body 01000010011011110110010001111001, Stanza, 2012. Perspex, Arduino, electronic components, internet connection

Body 01000010011011110110010001111001

Stanza

Twenty Thousand Seconds, Dan Hett, 2016. Algorithmically generated live coding image film (from an ongoing series)

Twenty Thousand Seconds

Dan Hett

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Listening to Shetland Wool by Felicity Ford

Sonic Pattern and the Textility of Code

Felicity Ford

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

Forkbomb, Alex McLean, 2001. Perl script computer code with paper output

Forkbomb

Alex McLean

Transmission series

Transmission One and Transmission Two

Dan Hett

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Still Lifes and Oscillators 1, Ben Garrod, 2012. Paint

Still Lifes and Oscillators 1

Ben Garrod

Listening to Shetland Wool, Felicity Ford, 2013. Interactive online aporee sound map

Listening to Shetland Wool

Felicity Ford

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

Punchcard Economy, Sam Meech, 2013. ODI: 3.5 x 0.5m knitted banner, FutureEverything: 5 x 3m knitted banner & knitting machines

Punchcard Economy

Sam Meech

The spectrum of re-knitting treatments, Amy Twigger Holroyd, 2012. Digital print on paper

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

Watching the Watchers, James Bridle, 2013. Multiple mounted colour prints

Watching the Watchers

James Bridle

Data as Culture - Art that uses data as a material

Data is telling tales about us. Can we trust these stories?

DoxBox trustbot is a hot pink puppet-robot-hybrid created by artist Alistair Gentry to test how much trust we place in online apps and services. DoxBox trustbot likes to chat. It wants to find out how free or cautious we are with data about us, drawing our attention to the many data versions of ourselves that might be created online. DoxBox wants to know if we know who has access to data about us? DoxBox questions if it is worth disregarding online security and data rights, in order to easily access the services we enjoy online. By matching our lives against similar real-life stories, DoxBox shows us what assumptions databases and artificial intelligence (AI) systems might build about us and broadcast to others. DoxBox seeks to empower us to question the hard evidence that data can appear to provide. As our encounter with DoxBox trustbot concludes it rewards us with KAWAII ‘Trust Credits’ which may be exchanged for various desirable prizes.

Alistair Gentry says “What surprised me about my research at the ODI was that the data we volunteer is just the beginning. There are vast quantities of extremely valuable data generated around all of our online activities without us knowing it and then yet another layer of data that is inferred from it. My research led me to want to satirise how we have become a ‘product’ to the companies that create the apps as the most valuable thing about us has become our data.”

Where to see DoxBox trustbot

  • January 2020 ODI, London (date to be confirmed). Please register interest here.
  • May 2020 Leeds International Festival (date to be confirmed) as part of the Furtherfield Future Fairness event. Please register interest here.

Further performance and tour dates will be updated as they are confirmed.

Booking a DoxBox trustbot performance

DoxBox trustbot is available for private performances and events. Artist fees may apply. Trust us, you’re worth it. Please contact dac@theodi.org

DoxBox trustbot 2019 is the result of a nine-month residency at the ODI in 2018 and 2019 as part of the ODI Innovation Programme, funded by Innovate UK. Curatorial team: Julie Freeman and Hannah Redler Hawes.

Photos by by Andrea Capello for the ODI.