Data type: Object  

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

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

Sonic Pattern and the Textility of Code

Felicity Ford

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

Re-knitting step by step guide

Amy Twigger Holroyd

balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

Black and white abstract image

Shadows of the State

Lewis Bush

Photo of multi story wooden tower

A Machine for Living

James Coupe

Image of computer generated object in natural woodland

Shifting

Katriona Beales

Image of an illuminated digital fountain dark blue on black background

Fountain

Katriona Beales

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

Recruitment Goes Wrong

Thomson & Craighead

Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Image of ghostly woman on black background (CIPHER artwork)

CIPHER

Katriona Beales

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

Twenty Thousand Seconds

Dan Hett

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

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

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

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

Forkbomb

Alex McLean

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

Daemons of the Shadow World

Giles Lane

multicoloured cartoon collage with 3D rendered large golden hand

Unauthorised Copy

Antonio Roberts

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Five 3D printed pale yellow shell-like objects

Lifestreams

Proboscis

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

Screen capture of multi-coloured digitally generated flowers

Flowers

Daniel Brown

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

20Hz

Semiconductor

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

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

Canal Observatory

AusBlau

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

Rates for the Job

Sam Meech

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

The Reader

Stanza

Transmission series

Transmission One and Transmission Two

Dan Hett

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

Metrography

Benedikt Groß and Bertrand Clerc

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

Quasar-2A

Field

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

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

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

Still Lifes and Oscillators 1

Ben Garrod

{poem}.py

{poem}.py

Pip Thornton

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

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

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

Evan Roth

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

Watching the Watchers

James Bridle

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

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

Body 01000010011011110110010001111001

Stanza

Listening to Shetland Wool

Felicity Ford

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

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

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

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

Allusive Protocols (prototypes)

Julie Freeman

Data as Culture - Art that uses data as a material

8 bespoke boxed soap bars embossed with key words and phrases relating to ‘Responsible AI’ (‘Practice’, ‘Iteration’, ‘Data is the feedstock of AI’, ‘Inclusion’, ‘Shared Understanding’, ‘Context’, ‘Care’, ‘Transparency’), 7 photographic portraits of Responsible AI researchers holding soaps with words they contributed, individual embossed soaps, context-specific participatory performance (duration and media variable).

The abstract, opaque and, at times, threatening world of Artificial Intelligence (AI) is frequently referred to as a magical machine ‘other’, outside of human messiness or control. But humans create AI and choose what to do with it. Constant Washing Machine blends an investigation into the role of the fragile, subjective ‘humans in the loop’, with a response to the slipperiness of language used in Responsible AI policies. The artists identify our private use of soap as social activity, noting ‘we wash for others’. The most modest of objects – a bar of soap – is transformed into a reminder that Responsible AI is dependent on daily habits and culture, rather than policies or regulations.

Eight bespoke soap bars were embossed with words and phrases contributed by Responsible AI researchers and practitioners. They were then invited to pose for portraits with their soaps and participate in a hand-washing performance, or sharing of a private practice in public. Over time the words on the bars of soap are erased, but the repetitive practice of hand washing embeds the knowledge about Responsible AI. This act leads to a recognition that embodied knowledge and intuition are as important as technical skill and computational capability in these emerging systems.

Constant Washing Machine was created as part of Blast Theory’s residency on the University of Sheffield’s national research project FRAIM: Framing Responsible AI Implementation & Management, along with project partners The British Library, Eviden, Sheffield City Council and the Open Data Institute (ODI). FRAIM brings together cross-sector perspectives on organisational RAI policy and process to scope key stakeholders, shared values, and actionable research needed for building the evidence base on implementing and managing RAI. It aims to reshape views of ‘Responsible AI’ from simplistic solutions to dynamic processes and conversations, inviting everyone to consider their role in using and working with AI.

Cross-sector partnership

FRAIM brings together:

  • University of Sheffield. A world-leading ‘internationally excellent’ (REF 2021) UK research university.
  • British Library. Based in London, the BL is the national library of the United Kingdom. It is the custodian of the UK’s national collection of published, written and digital content.
  • Open Data Institute. A not-for-profit institute that works with organisations to build data infrastructure, knowledge and strategies that create trust in data and data practice. Delivering the FRAIM project is part of ODI’s art programme Data as Culture.
  • Sheffield City Council. One of the largest local government authorities in the UK, serving the needs of over half a million people and businesses in the fourth largest city in the UK.
  • Eviden is a digital transformation company. It is a multinational consultancy which is part of the Atos group with 50k+ staff

FRAIM is a Bridging Responsible AI Divides (BRAID) scoping project funded by the Arts and Humanities Research Council as part of the broader UK Bridging Responsible AI Divides (BRAID) programme to bring out the essential role of arts and humanities perspectives in shaping Responsible AI dialogues.

Read the interview with artist Matt Adams about the work