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Data Artification: Knowledge Design Against and Beyond Data Factories and Regimes

Research output: Chapter in Book/Report/Conference proceedingChapterpeer-review

Original languageEnglish
Title of host publicationPerspectives on Design and Digital Communication II
EditorsNuno Martins, Daniel Brandão , Fernando Moreira da Silva
PublisherSpringer, Cham
Pages437-452
Number of pages15
ISBN (Electronic)978-3-030-75867-7
ISBN (Print)978-3-030-75866-0
DOIs
Published30 May 2021

King's Authors

Abstract

Although artification is an emerging concept, it encompasses processes that have been around us for a long while. Its current theory combines the sociological and behavioral perspectives on various forms of conversion from non-art to art (Shapiro in Cultural Sociology 13:265–275, 2019) and our intimate responses to the surrounding world (Dissanayake in AVANT VII I:15–32, 2017). Data, on the other hand, have hardly been discussed in the context of artifying processes. Data art or the intent to make something artful for the sake of aesthetics are not, however, synonymous with data artification. It is primarily concerned with the will to know and create when datafied things and activities entangled with our lives in ubiquitous, automated, and overused ways lose their meaning. The binaries of non-art and art limit our consideration of knowledge crisis as a premise of artifying modes of knowing. In this paper, I will argue that this notion is instrumental in developing the phenomenological strand of artification theory. By drawing on the artwork of Nathalie Miebach and Fabio Lattanzi Antinori, I will consider in which ways their artistic practices apply a critical lens to the inner workings of data factories and regimes, and eventually produce knowledge in ways that defy disciplinary centers.

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