Riitta Oittinen  

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

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

kinetic artwork of a circular wooden base and brass arches with a small brass seasaw with a weight

Allusive Protocols (prototypes)

Julie Freeman

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

black and white image of booklet called Daemons of the Shadow World

Daemons of the Shadow World

Giles Lane

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

image of a screen with four chairs each with a ventriloquists half-masks hanging above each

Recruitment Goes Wrong

Thomson & Craighead

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

Five 3D printed pale yellow shell-like objects

Lifestreams

Proboscis

image of black and white animation on a screen of women and a wire fence

There Are Worlds Out There They Never Told You About

Jackie Karuti

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

Body 01000010011011110110010001111001

Stanza

Screen capture of multi-coloured digitally generated flowers

Flowers

Daniel Brown

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

Image of ghostly woman on black background (CIPHER artwork)

CIPHER

Katriona Beales

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

Black and white abstract image

Shadows of the State

Lewis Bush

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

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

Rates for the Job

Sam Meech

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

Image of computer generated object in natural woodland

Shifting

Katriona Beales

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

Forkbomb

Alex McLean

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

Watching the Watchers

James Bridle

Listening to Shetland Wool

Felicity Ford

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

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

Sonic Pattern and the Textility of Code

Felicity Ford

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

20Hz

Semiconductor

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Illluminated acrylic sculpture of a red-lit person holding a book

The Reader

Stanza

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

Twenty Thousand Seconds

Dan Hett

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

{poem}.py

{poem}.py

Pip Thornton

image of pylon-like communications tower inverted white out of red

http://s33.820180e151.184813.com.au

Evan Roth

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

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

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

Metrography

Benedikt Groß and Bertrand Clerc

multicoloured cartoon collage with 3D rendered large golden hand

Unauthorised Copy

Antonio Roberts

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Photo of multi story wooden tower

A Machine for Living

James Coupe

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Canal Observatory

AusBlau

person in white wearing a sci-fi helmet with lots of protrusions

Quasar-2A

Field

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

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

Re-knitting step by step guide

Amy Twigger Holroyd

Image of an illuminated digital fountain dark blue on black background

Fountain

Katriona Beales

Transmission series

Transmission One and Transmission Two

Dan Hett

Data as Culture - Art that uses data as a material

From the ridiculous to the sinister, Riitta Oittinen’s project, where craft meets technology, reminds us of the limitations and bias in computational ‘seeing’ systems. In 2014 Riitta experimented with Google image recognition using photos of handmade mini rugs – curious to see how accurately their images would be interpreted. The results were surprising. None returned other textile imagery and the searches revealed the system’s bias towards humans and household objects. It was also highly gendered. Reds returned female forms and blues male. Yellow and peachy colours also returned exposed human flesh (predominantly female) yet browns and blacks did not. Three years later, in 2017, she ran the experiment again to see whether Google’s algorithms had improved. Again, Riitta did not get any matches with her rugs.

The installation at the ODI presents her original rugs (made of new and recycled materials: pieces of cloth, candy and food wrappings, shoe laces, bits and pieces of decorative ribbon, nylon, paper, and cotton string, wool and other natural fibres) alongside the photographs and two sets of results from the searches, 2014 on the left and 2017 on the right. With current concerns of widespread image recognition and surveillance, it is intriguing that a simple rug appears to be a mystery to Google’s machine learning software. We are asked to consider what other imagery is unable to be recognised by these seemingly ‘intelligent’ systems.