Tag: data

On March 18, 2016 I was invited to speak at the Austrian Federal Chancellery on the state of data privacy laws and culture in the U.S. I then took part in a panel discussion with, among other participants, Mr. Max Schrems from Europe v. Facebook.

In addition how laws differed from those in the E.U. I also shared my Fulbright research, including a new concept I’ve been working on called “Free Market Privacy,” where data security is only provided to users only because it benefits the companies holding their data. Instead of a basic human right enshrined by the constitution, privacy is a byproduct of capitalist pursuits.

English translation:

Invitation to the event on the occasion of the 10th European Data Protection Day

Transatlantic traffic after the Safe Harbour decision of the ECJ
Friday, March 18 2016
Federal Chancellery, congress hall, Ballhausplatz 2, 1010 Wien

10:00 Welcome
Section Chief Dr. Gerhard HESSE, Federal Chancellery

10:10: Introduction
State Secretary Mag Sonja Stessl, Federal Chancellery

10:20: “The most important statements of the ECJ on fundamental right to data”
Prof. Dr. Maria BERGER, Judge at the Court of the European Union Federal Minister of Justice aD

10:40: “basic Regulation, Framework Agreement, Privacy Shield: The new rules”
Paul NEMITZ, Director for Fundamental Rights and Citizenship in the Directorate General for Justice of the European Commission

11:00: “Free Market Privacy: The Increasing Commodification of Personal Data”
Prof. Owen MUNDY, Florida State University
Professor on “Cultural Distinctions in Perceptions of Data Privacy”

11:20: Panel and audience discussion Moderator:

Councillor Dr. Andrea JELINEK
Head of the Data Protection Authority (DPA)

Abg.z.NR aD Mag. Johann MAIER
Chairman of the Data Protection Council (DSR)

Mag. Max SCHREMS
Author and privacy activist

Prof. Dr. Maria BERGER
Judge at the Court of the European Union Federal Minister of Justice aD

Paul NEMITZ
Director for Fundamental Rights and Citizenship in the Directorate General for Justice of the European Commission

Prof. Owen MUNDY
Florida State University
Professor on “Cultural Distinctions in Perceptions of Data Privacy”

12:45: Press conference

Registration: Tel .: +43 1 53115-20 25 27 or email: v3@bka.gv.at
The number of participants is limited; it counts the order of registration.
Note: The event will be broadcast via live stream on www.bundeskanzleramt.at.

This week I’m presenting at the Creativity and Technology Symposium hosted by the North Carolina State University Libraries.

Using our feline friends as a theme, we will explore a variety of topics that relate to the ever-expanding and complex work of libraries and academic institutions including: GIS-data enabled location tracking and the implications for privacy rights; the use of social media in research; how new technologies are expanding the possibilities for data gathering; and digital archiving as it relates to common computer usage and pop culture. Plus, we have a few special guests who will be paying a not-to-be-missed visit to the Libraries. All C.A.T.S. events are free and open to the public.

UPDATE: C.A.T.S. was a success, AND I met the famous Lil Bub!

Photos from the Story-re-telling exhibition at the National Audiovisual Institute (NInA), Warsaw, Poland (September 25–October 18, 2015) curated by Anna Desponds.

“I know where your cat lives” proclaims artist and programmer Owen Mundy. And indeed – the website created by him can not only recognize pictures of cats from the web, but also precisely pinpoint where they were uploaded.

Cats, which had heretofore led a sheltered life, have recently become Internet mascots. They have entered the public sphere – much in the same way as information about Internet users. This seemingly innocent, funny and simple project in which we watch a map with thousands of photos of cats, moving in a matter of seconds from Bangkok to Rome, is in fact a commentary on the all-knowing web and the often unquestioning satisfaction with which we relinquish our privacy. After all, it’s easy to imagine a similar app for pictures of children instead of cats.

This is not the first one of Mundy’s projects to deal with the topic of the safety of data on the web. He has also created the app Give Me My Data which allows users to reclaim their own information from Facebook and use it for further analyses or visualizations.

Unlike Facebook’s creator Mark Zuckerberg, who claims that privacy is dead, Mundy thinks that it is evolving. Many people didn’t want to show their cats on the webpage – browsing the site you can see which pictures have been removed by users. On the other hand though, many people supposedly reached out to Mundy to ask how they could add their cat to the map.

I know where your cat lives
USA, 2014
Author: Owen Mundy
Team: Owen Mundy, Nicole Kurish, Tim Schwartz, Alissa McShane, Shana Berger
URL: iknowwhereyourcatlives.com

Photos: Malwina Toczek/NInA

This month found me at the excellent Beautiful Data II workshop at the MetaLab at Harvard University sponsored by the Getty Foundation. Participants worked together in the Carpenter Center and Harvard Art Museum under the theme “Telling Stories About Art with Open Collections.”

There were presentations by known visualization and museums experts, breakout sessions exploring how to represent problem data and collections, and talks by participants and Metalab staff and fellows, including a wonderful group of artists, curators, designers, and scholars in attendance.

Here are a few of the many highlights starting with this nerdy shot of me…

Data Therapy workshop with Rahul Bhargava (slides1, slides2).

Learning about provenance at the Harvard Art Museum (note stamp declaring Nazi property)

This spanking cat statuette from the Cooper Hewitt collection.
Colour Lens produced at Beautiful Data I.
Presentation by Seb Chan Director of Digital at Cooper Hewitt.
Memory Slam by Nick Montfort.
Meow Met Chrome extension shows cats from the Met Museum in new tabs.

Behind the scenes of Ivan Sigal‘s Karachi Circular Railway, Harvard Art Museum Lightbox.

The Life and Death of Data by Yanni Loukissas.
Ben Rubin discussing his and works by Mario Klingemann, Ryoji Ikeda, Jer Thorp and others.
William James Twitter Bot by Rachel Boyce.

Cold Storage documentary by Jeffrey Schnapp, Cristoforo Magliozzi, Matthew Battles, et al.

Cooper Hewitt typeface by Chester Jenkins

“Unicode” by Jörg Piringer shows all 49571 displayable characters in the unicode range.

*Most photos by Metalab staff

I Know Where Your Cat Lives at Witte de With Center for Contemporary Art in Rotterdam.

Opening of the exhibition ‘Art In The Age Of…Planetary Computation’, 21 May 2015. Photo: Aad Hoogendoorn

Opening of the exhibition ‘Art In The Age Of…Planetary Computation’, 21 May 2015. Photo: Aad Hoogendoorn

Art In The Age Of… Planetary Computation
22 May – 16 August 2015
Opening: 21 May 2015, 5pm

With: Aram Bartholl, Rossella Biscotti, Nina Canell, John Gerrard, Femke Herregraven, Antonia Hirsch, David Jablonowski, Navine G. Khan-Dossos, John Menick, Owen Mundy, Trevor Paglen, Lucy Raven, Stephan Tillmans, Julia Weist

How would you draw a picture of the Internet; through the machines and ‘their’ language that broadcast and store ‘our’ messages, or through the affect and power relations that those messages and their movement produce?

Exhibition visitors guide

Art In The Age Of… Planetary Computation investigates how quantification, telecommunications, and our ever-expanding information apparati not only inform contemporary artistic production, but also how contemporary art can hold a mirror up to these processes and formations. The participating artists explore the fissure between literal infrastructure—code, machines, wires, and other like-vocabularies—and the subjective socio-political interactions fostered by using these devices. Guided not only by that which can be seen on the computer screen, and the various other black mirrors we stare into day in and day out, this exhibition also looks to what happens behind these screens. Moving from objects to subjects, we ask, how do these positions impact daily life, or said in another way: what does it mean to be ‘screened’?

Art In The Age Of… Planetary Computation is the second iteration of Art In The Age Of…, a three-part presentation series running throughout 2015, that investigates future vectors of art production in the 21st century.

Witte de With
Center for Contemporary Art
Witte de Withstraat 50
3012 BR Rotterdam
The Netherlands
www.wdw.nl

It has been an intense couple weeks since my last post. It turns out the internet loves cats even more than data, maps, and politics. So here is an update on many things “cat”…

Update on the project

I Know Where Your Cat Lives has received an overwhelmingly positive response from international press. Besides photos of cats on a world map, there are charts, an FAQ and (now) links to press on the website.

I have to admit I specifically picked cat photos as an accessible medium with which to explore the privacy issue. Still, I was astounded at just how much the internet responded. It’s not only cats, the issue was important for discussion, and I appreciated that as well as the thoughtful responses from everyone. Even the puns.

The privacy implications of cat pictures (4:24) MSNBC Interview with Ronan Farrow

Meet The Guy Who’s Putting Your Cat On The Map — To Prove A Point (2:12) Interview with National Public Radio’s All Things Considered

“If you have posted a picture of your cat online, data analyst and artist Owen Mundy, and now, the rest of the world, knows where it lives. And, by that logic, he knows where you live, too. That should probably creep you out a little bit, and that’s really the point.”

—This Guy Is Cyberstalking the World’s Cats in the Name of Privacy, Motherboard / Vice Magazine

“Using cat pictures — that essential building block of the Internet — and a supercomputer, a Florida State University professor has built a site that shows the locations of the cats (at least at some point in time, given their nature) and, presumably, of their owners.”

—What the Internet Can See From Your Cat Pictures, The New York Times

“Attention all 4.9 million users of the #Catstagram hashtag: You’re being watched.”

—This Website Knows Where Your Cat Lives, Time Magazine

“I recognize that a single serving site like this should be easy to quit, but I’ve been refreshing for hours and looking at all the different cats of the world. Near, far, wherever they are, these cats just go on and on and on.”

—Here’s The Website You Will Never Ever Leave, Jezebel

“If I put up a “cat” photo on Instagram, I am not just sharing a cat photo on Instagram. I am offering up data about my, and my cat’s, location. “I Know Where Your Cat Lives” is, as a title, meant to be vaguely threatening.”

—The Cats of the World, Mapped: A lesson in digital privacy The Atlantic

“Owen Mundy just ruined the Internet. What were once innocuous photos of grumpy cats, tired cats, and fat cats, have now become adorable symbols of just how little privacy we have online.”

—Cat Photos, The Privacy Debate, & The Project That Brought Them Together Refinery29

Some charts

Because, charts.

Traffic and hosting

So far 19,169 cats have been removed from the map due to privacy settings on their photographs being increased. I think this is awesome. And, it is also the ironic part of this project in that its success is measured in increased privacy. Meaning, the more people who are convinced to manage their data better, the less cats I will be able to represent on the map!

Truthfully speaking, I don’t think I have to worry about running out of cats, since this is a small portion of the total one million. And, I figured out a clever way to show this progress as it unfolds:

The bandwidth and computing resources consumed by this project have been crazy. Even with a very fast Amazon EC2 server (high I/O computing-intensive 4XL server with 16 virtual cpus and 30 GB RAM) I watched the CPU hover at 100% for the entire day of The New York Times article. And this is after I put many hours indexing the database columns and making the scripts efficient in other ways. All told my bill for “going viral” was $1,019.73 (the month of July 2014).

I used a few different logging tools to monitor the status of the server. Here are some basic stats (from awstats installed on the server) from the three weeks since I launched the project. This is for the requests and bandwidth on the EC2 server only. It does not include the actual cat photos, only the website itself (html, css, json, php, etc):

• 353,734 unique visits
• 14,141,644 pages (total clicks on the site)
• 16,786,127 requests (additional files)
• 8846.24 GB bandwidth (again, only text files)

I also used CloudFlare CDN (thanks for the tip Tim Schwartz!) to cache the site files and cat photos and serve the data from various locations around the world. This helped with the speed and to decrease my costs. Since all requests are routed through their DNS I believe their stats are likely the most reliable. According to CloudFlare, they served:

• 20,631,228 total requests (3,089,020 of which were served through CloudFlare’s cache)
• 10.2 TB bandwidth!! (437.3 GB of this data (site files and cat photos were served by CloudFlare)

The Kickstarter has <3 days left!

And great news, thanks to 123 backers, including a big push from the awesome folks at Ghostery and Domi Ventures, the Kickstarter will be funded! There’s still time however, to help contribute to the number of years I can keep the site live while getting fun rewards from the project like I Know Where Your Cat Lives themed beer koozies and plush fish-shaped catnip-laced cat toys, as well as a limited edition signed I Know Where Your Cat Lives archival ink jet print. The kickstarter closes on Sat, Aug 9 2014 11:49 AM EDT.

Thanks again to everyone who supported the project. It’s been fun.

I just launched a new ongoing project this week. Here’s the text, a video and some screenshots. I’ll post more about how I made it soon.

Welcome to the today’s internet—you can buy anything, every website is tracking your every move, and anywhere you look you find videos and images of cats. Currently, there are 15 million images tagged with the word “cat” on public image hosting sites, and daily thousands more are uploaded from unlimited positions on the globe.

“I Know Where Your Cat Lives” iknowwhereyourcatlives.com is a data experiment that visualizes a sample of 1 million public pics of cats on a world map, locating them by the latitude and longitude coordinates embedded in their metadata. The cats were accessed via publicly available APIs provided by popular photo sharing websites. The photos were then run through various clustering algorithms using a supercomputer at Florida State University in order to represent the enormity of the data source.

This project explores two uses of the internet: the sociable and humorous appreciation of domesticated felines, and the status quo of personal data usage by startups and international megacorps who are riding the wave of decreased privacy for all. This website doesn’t visualize all of the cats on the net, only the ones that allow you to track where their owners have been.

Folks can also contribute to a kickstarter to help with hosting costs.

I am giving a lecture on my research tomorrow at a Florida State Department of Geography colloquium. I’ll be addressing artistic and cultural works that make use of data visualization and various forms of mapping to critique or engage issues surrounding data privacy, militarism, and surveillance. I will be giving a preview of a new web-based project involving mapping and cats. I will also talk about Representing Place, the collaborative graduate seminar I co-taught with Prof. Phil Steinberg in Geography.

“Data and Site: Visualizing Indexicality”
Owen Mundy, Assistant Professor in Art
Friday April 18, 3:30-4:30pm
DeVoe Moore Conference Center, Bellamy 150-E.

I made a small app to compare the number of search results for two phrases from the Digital Public Library of America for a hackathon / workshop here at Florida State next week.

http://owenmundy.com/work/term-vs-term

Digital Humanities Hackathon II – Digital Public Library of America

Monday, April 21, 2:00-3:30 p.m.
Strozier Library, Scholars Commons Instructional Classroom [MAP]

The Digital Scholars Reading and Discussion Group will simulate its second “hackathon” on April 21, allowing participants to learn more about the back-end structure of the Digital Public Library of America. With its April 2013 launch, the DPLA became the first all-digital library that aggregates metadata from collections across the country, making them available from a single point of access. The DPLA describes itself as a freely available, web-based platform for digitized cultural heritage projects as well as a portal that connects students, teachers, scholars, and the public to library resources occurring on other platforms.

From a critical point of view, the DPLA simultaneously relies on and disrupts the principles of location and containment, making its infrastructure somewhat interesting to observe.

In this session, we will visit the DPLA’s Application Programming Interface (API) codex to observe some of the standards that contributed to its construction. We will consider how APIs function, how and why to use them, and who might access their metadata and for what purposes. For those completely unfamiliar with APIs, this session will serve as a useful introduction, as well as a demonstration of why a digital library might also want to serve as an online portal. For those more familiar with APIs, this session will serve as an opportunity to try on different tasks using the metadata that the DPLA aggregates from collections across the country.

At this particular session, we are pleased to be joined by Owen Mundy from FSU Department of Art and Richard Urban from FSU College of Communication and Information, who have considered different aspects of working with APIs for projects such as the DPLA, including visualization and graphics scripting, and developing collections dashboards.

As before, the session is designed with a low barrier of entry in mind, so participants should not worry if they do not have programming expertise or are still learning the vocabulary associated with open-source projects. We come together to learn together, and all levels of skill are accommodated, as are all attitudes and leanings.

Participants are encouraged to explore the Digital Public Library of America site prior to our meeting and to familiarize themselves with the history of the project. Laptops will be available for checkout, but attendees are encouraged to bring their own.

Excited to be heading to Lüneberg, Germany, tomorrow for this conference organized jointly by Habits of Living (Brown University, CIS Bangalore) and the Post-Media Lab in conjunction with Stadtarchiv Lüneburg.

January 15-18
Taking Care of Things!
Archives – Life-Cycles – Care
organized by Post-Media Lab/CDC and Habits of Living in cooperation with the Stadtarchiv Lüneburg

Venue: Stadtarchiv Lüneburg, Germany

From the perspective of current theoretical approaches the figure of the archive seems to have lost its central status and its fever. Meanwhile, in our medial and cultural set-up new (kinds of) archives seem to crop up everywhere, accelerated by new means of production and distribution. Cultural repertoires are being remixed alongside technological repositories – often giving new life to almost forgotten relics. Ever more things, valuables, processes, projects, constituencies, even movements, need to be taken care of. It is not only cultural and critical theory that is being challenged, but also law, the natural sciences and design, alongside other applied sciences. But what are the complex dynamics and contexts of these new (non-)archives? Do they really make sense? And if so, by and for whom?

To address these questions, ‘Taking Care of Things!’ focuses on the transformation of things – analog and digital – into life-cycles and specific practices of care. This will be done in different thematic groups dealing with topics, like Mesh Media!, Civil Archaeology, Measure Drones, Unearthing the Archive, Translating Ontologies and Extinction in Context.

This workshop will address such fundamental changes in archiving and objects by generating practices and chances to take care of things. That is, we will seek to extend (or sometimes end) the life-cycle of objects not by simply preserving them (this usually guarantees they will be forgotten), but rather through acts that respond, react, and/or reuse.

‘Taking Care of Things!’ will be based at and operating from the Stadtarchiv Lüneburg, the city’s rich and still to-be-further-explored archive, headed by Danny Kolbe.

‘Taking Care of Things!’ will start Wednesday evening (Jan 15) with a public talk by Kelly Dobson (Brown University) and followed by short introductions by Oliver Lerone Schultz, Nishant Shah and Wendy Chun to set the scene for the following days. Clemens Apprich together with Marcell Mars will then turn the evening into a Public Library, offering the first charge of Post-Media Lab publications as free downloads.

Thursday and Friday (Jan 16-17) will be reserved for intensive exchanges and workshops among the invited participants, all of whom deal very differently and critically with post-medial (non-)archives. There will be the opportunity to interface with the Lüneburg public, assembling archival objects of different kinds. On Saturday (Jan 18) all these activities will culminate in a public presentation and fair under the umbrella of ‘Parliament of Things’ held at the Stadtarchiv.

‘Taking Care of Things!’ will create multiple interweavings not only with the rich repository of the Stadtarchiv, but also with the multiple potentials of existing and new collaborations around the Center for Digital Cultures – possibly starting some repositories that will carry on into a future, where the Post-Media Lab will have been supplanted by other, new life-cycles.​

‘Taking Care of Things!’ is a collaborative event between Habits of Living (Brown University, CIS Bangalore) and the Post-Media Lab in conjunction with Stadtarchiv Lüneburg.
This event will mark the conclusion of the first life-cycle of the Post-Media Lab by bringing together former fellows and new participants.

Among the participants are: Adnan Hadzi and James Steven (DeckspaceTV), Femke Snelting and Michael Murtaugh (Constant/Active Archives), Eric Kuitenberg and David Garcia (Tactical Media Files), Boaz Levin and Daniel Herleth and Adam Kaplan (The Rise of Data), Fabian Giraud and Inigo Wilkins (Glass Bead), Jonathan Kemp and Martin Howse („Stack, Frame, Heap –SFH)”, as well as Memory of the World (Marcell Mars), Mathias Fuchs (Gamification Lab), Cornelia Sollfrank (Giving What You Don´t Have), Hauke Winkler (Freifunk Lüneburg), Robert Ochshorn (InterLace), Tapio Makela (M.A.R.I.N.) [had to cancel bec of illness], Fabrizio Augusto Poltronieri (MaisZero), Rodrigo Novaes (Flusser Archiv/UdK), Owen Mundy, Kristian Lukic (NAPON), Vahida Ramujkic (irational), Volker Grasmuck (CDC/Grundversorgung 2.0), Kilian Froitzhuber (netzpolitik.org), Vincent Normand, Jeremy Lecomte, Ida Soulard, Erich Berger, Connie Mendoza, and more.

Coordination & Care
Christina Kral: christina.kral@inkubator.leuphana.de
Oliver Lerone Schultz: oschultz@leuphana.de

Team
Wendy Chun, Nishant Shah, Clemens Apprich, Josie Berry Slater, Anthony Iles; and Nora Hannemann, Sina Hurnik, Nina Kersten, Ann-Kathrin Wagner, Nicolas Schrape

README for After Douglas Davis
==============================

Statement
————–

The World’s First Collaborative Sentence was created by Douglas Davis in 1994 and donated to the Whitney Museum of American Art in 1995. Much like today’s blog environments and methods for crowdsourcing knowledge, it allowed users to contribute practically any text or markup to a never-ending sentence with no limits on speech or length.

At some point the sentence stopped functioning, and in early 2012 the Whitney Museum undertook a “preservation effort” to repair and relaunch the project. Measures were taken during the “restoration” to stay true to the original intent of the artist, leaving dead links and the original code in place.

During the preservation the curators placed small sections of garbled ASCII text from the project on Github with the hope that others would “fork” the data and repair the original. However, the Whitney Museum did not succeed in realizing that the collaborative culture of the net Davis predicted has actually arrived. This is evident not only through sites like Wikipedia, Facebook, and Tumblr, but the open source movement, which brings us Linux, Apache, and PHP, the very technologies used to view this page, as well as others like Firefox, Arduino, Processing, and many more.

In the spirit of open source software and artists like Duchamp, Levine, runme.org and Mandiberg, on September 5, 2013, I “forked” Douglas Davis’ Collaborative Sentence by downloading all pages and constructing from scratch the functional code which drives the project. I have now placed this work on Github with the following changes:

1. All pages are updated to HTML5 and UTF-8 character encoding
2. The functional code was rewritten from scratch including a script to remove malicious code
3. The addition of this statement

I was originally disappointed the Whitney Museum didn’t place the full source code in the public domain. What better way to make it possible for artists and programmers to extend the life of Davis’ project by learning from, reusing, and improving the original code than to open source this work? Though, possibly like Davis, my motivation is largely in part an interest in constructing a space for dialog, framing distinct questions and new possibilities, and waiting to see what happens from this gesture.

Included software
————–
HTML Purifier http://htmlpurifier.org/

Live version
————–
Enter After Douglas Davis

About the author
————–
Owen Mundy http://owenmundy.com/

CYBER IN SECURITIES
Dates: August 30 – September 27, 2013
Location: Pepco Edison Place Gallery, 702 8th Street, NW, Washington, DC

Curated by: Lisa Moren, Professor, Department of Visual Art, University of Maryland, Baltimore County

Participating Artists: Birgit Bachler, Walter Langelaar, Owen Mundy, and Tim Schwartz; Channel TWo (CH2): Adam Trowbridge and Jessica Westbrook, with Jesus Duran; Heather Dewey-Hagborg; Hasan Elahi; The Force of Freedom with Dave Young; Taylor Hokanson; Ricarda McDonald and Donna Szoke; Lexie Mountain; Preemptive Media; David Rokeby; Julia Kim Smith; and WhiteFeather

Opening Reception: Friday, August 30, 2013, 6-8pm
Exhibition Hours: Tuesday – Friday, 12pm-4pm

Experimental Media Video Screening Series
Juried by Jason Eppink, Associate Curator of Digital Media, Museum of the Moving Image, New York

Experimental Media Video Series Night One: Thursday, September 12, 2013, 6:30pm
Location: The Phillips Collection, 1600 21st Street, NW, Washington, DC

Experimental Media Video Series Night Two: Monday, September 24, 2013, 6:30pm
Location: The Corcoran Gallery of Art and College of Art + Design, 500 17th Street, NW, Washington, DC

Experimental Media Symposium: Saturday, September 21, 2013
Location: Pepco Edison Place Gallery, 702 8th Street, NW, Washington, DC

Experimental Media 2013 will explore security, privacy, and surveillance in the digital age, through a gallery exhibition, video screenings series, and panel discussion.

The Washington Post recently published a review recently about my and Joelle’s exhibition at Flashpoint Gallery in D.C. Check it out: Joelle Dietrick & Owen Mundy: Grid, Sequence Me, by Maura Judkis, Jan 11, 2013.

A few elements will be recognizable, such as the brutalist outline of the J. Edgar Hoover FBI Building, but many are stripped down to their most generic shapes, making rows of windows look like charts and bar graphs. The projections of some of those shapes echo and interplay with the forms of the Flashpoint gallery interior.

Dietrick and Mundy also scraped The Post’s listings of recent home sales, with architectural elements from some of those homes appearing before a dense thicket of live-streamed code. It’s a visual reminder of just how complicated the housing industry has become.

…

There’s a sense in the animation that the structures are tumbling away from you — just as homeownership has slipped out of the grip of many Americans. But the piece will elicit a different reaction here than in Florida, where the effects of the housing market crash have been far more pronounced. In Washington, we’ve mostly been insulated from it: Foreclosures are few, short sales are sparse. In the jumble of buildings and code, “Grid, Sequence Me,” may serve as a warning for those who haven’t experienced that sense of loss — but who indirectly, though policy work, may have influenced the systems that led to the crash.

I also finished a short piece with video from the installation and screen captures of the Processing visualization.

Joelle and I are working on an installation for Flashpoint Gallery in Washington D.C. This animation was made using ColladaFragmenter to deconstruct the architecture, and Processing with OBJloader to visualize the 3D fragments. The text is scraped from pages describing short sell real estate in D.C. This is work in progress:

Joelle Dietrick and I embarked on a new body of work this summer called “Packet Switching.” Inspired by her Sherwin Series images and wall paintings, and my work deconstructing and re-visualizing source code and other data, we’ve created two new software projects, as well as a series of limited edition prints, large photo installations, wall-sized paintings, and animations.

The full statement explains our process and intent clearly:

Packet Switching is an ongoing body of work by Joelle Dietrick and Owen Mundy that visualizes architecture as fragments affected by economic and communications systems.

The title of the series references how contemporary communications systems break digital files into smaller manageable blocks of data called packets. Each packet is then sent through a network, taking the quickest route possible, and reassembled once they reach their destination. One JPG image, for example, might be broken into several packets, each of which may travel a different path through the net, even through different cities, before being recompiled into a copy of the original file.

To reference this common process used in networked systems, we wrote custom software that deconstructs a 3D model’s source code and produces unique fragments. We further remixed these fragments using an original application created in Processing. The resulting images become limited edition prints, large photo installations, wall-sized paintings, and animations.

Our process underscores how incidental fragmentation and automation can streamline markets, but also make them vulnerable to systems failure. The use of architecture specifically points to recent real estate market volatility and considers how communication technology-enabled pursuits of profit margins alters our most basic needs.

The first software, that “deconstructs a 3D model’s source code and produces unique fragments,” is open source and available on Github. Essentially, the PHP software, parses a 3D COLLADA file and exports a set number of geometries, that can then be further broken down and used in an artwork or design.

The second software, which we will release soon, remixes these fragments using Processing. The video below shows an example of the whole process.

Wall painting at “Temporary Home” in Kassel, Germany

While artists-in-residence at Temporary Home, in Kassel, Germany, which coincided with Documenta13, Joelle Dietrick and I completed a wall-sized temporary painting based on the architecture from the Bauhaus School at Dessau and 2012 American color forecasts.

Commission at Weimer Hall at the University of Florida

Joelle and I have also received a commission to complete Packet Switching (Weimer Hall) at the University of Florida College of Journalism and Communications this fall. This will be inkjet on adhesive polyester on a large wall (approx. 177.5 ft. x 20.2 ft.). More details soon.

Tonight Tim Schwartz, Walter Langelaar, Birgit Bachler, and I share our new project. The concept has taken a turn from the original plan, but will be exciting nonetheless.

Project Presentation and Mini-Seminar: Live Project Launch, Workshop Outcomes and Talks on [Social] Media Hacking
Friday, July 27, 2012

Tonight we launch the new version of “Give Me My Data!”, a project that together with Artists In Residence Tim C. Schwartz and Owen Mundy was revised and revived in WORM’s moddr_lab.

Give Me My Data offers functionality to its users with which they can retrieve and backup data and files from several key social networks; partly designed as a backup tool moreover targeted at networks that completely lack these functions.

Besides launching the project and am in-depth presentation by the artists, Walter Langelaar of WORM will give an introduction and overview of similar (art)works and earlier projects that came out of WORMs studios like the “Web2.0 Suicide Machine”.

Further more we’ll have presentations of current and ongoing projects from the lab, like Birgit Bachler’s ‘online social gardening’ platform “Talk To The Plant”, the Force of Freedom (Roel Roscam Abbing and Micha Prinsen) present “partsba.se”, and Geert Lovink talks about the “Unlike Us” initiative. The last addition to tonights programme is a presentation by Greenhost.nl on their very excellent RePress project; a WordPress plugin that automagically converts your site to a proxy-server countering censorship on the internet!

In conclusion there will be an open Q&A and panel discussion moderated by Florian Cramer of Creating010.

Projects & Speakers

Florian Cramer – Creating010
Florian Cramer, is a reader and programme director at the applied research center Creating 010 at Hogeschool Rotterdam, The Netherlands. he is a critical writer on arts, culture and information technology. Recent publications include: Exe.cut(up)able statements: Poetische Kalküle und Phantasmen des selbstausführenden Texts, Wilhelm Fink, 201.

Unlike Us / Geert Lovink
The aim of Unlike Us is to establish a research network of artists, designers, scholars, activists and programmers who work on ‘alternatives in social media’. Through workshops, conferences, online dialogues and publications, Unlike Us intends to both analyze the economic and cultural aspects of dominant social media platforms and to propagate the further development and proliferation of alternative, decentralized social media software.

Tim C. Schwartz – moddr_/WORM Artist in Residence
Tim Schwartz grew up in St. Louis, MO. He received a BA in Physics from Wesleyan University and an MFA in Visual Arts from the University of California, San Diego. In January 2010, he developed a technology to help reunited missing people affected by the earthquake in Haiti and now co-runs an organization dealing with family reunification. Last year Schwartz spent four months traveling the country in a mobile research laboratory investigating what is lost as archives become digital.

Birgit Bachler – moddr_/WORM
Birgit is an Austrian artist living and working in Rotterdam/NL. She graduated as BA in Information Design / Media & Interactiondesign at the Universityof Applied Sciences in Graz/AT and is a recent graduate of the MA Networked Media at Piet Zwart Institute Rotterdam. She has a background in interactive, audiovisual media and programming. Her interests focus on the influence of new media on our everyday lives and the similarities and differences between human and computational behavior.

RePress / Greenhost.nl
“This plugin was made in response to the ongoing limitation of the Open Web. In the dawn of 2012 we found ourselves confronted with a court-ruling blocking the Piratebay.org in the Netherlands. On the other side of the ocean new laws are being discussed to curtail web-freedom even further.”

We zijn pioneer in groene hosting. We ontwikkelden een innovatief energiebesparend hostingplatform waardoor we 70% minder energie gebruiken dan andere hosters. Onze servers staat bij Evoswitch, het meest duurzame datacenter van Nederland.

Owen Mundy – moddr_/WORM Artist in Residence
Owen Mundy is an artist, designer, and programmer who investigates public space and its relationship to data. His artwork highlights inconspicuous trends and offers tools to make hackers out of everyday users. He has an MFA in Visual Art from the University of California, San Diego and is an Assistant Professor of Art at Florida State University.

partsba.se / Force Of Freedom
At partsba.se you can upload, share and download digital designs for real physical products. Partsba.se allows you to share designs of any nature, whether these designs are copyrighted or dangerous. Unlike other websites partsba.se does not claim any rights of your designs once you upload them.In the near future partsba.se will run on a fully secure and anonymous server.

We believe that users should be free to reverse engineer any everyday objects that surround them. Either to improve these objects, customize them, repair them or just to understand them.

The Force Of Freedom is a Rotterdam based collective founded by Micha Prinsen and Roel Roscam Abbing in 2009. Researching ways in which we can relate to things that happen on-line.

Kaarten
De volgende kaarten zijn beschikbaar:
Normaal Voorverkoop: € 5.00 Deurverkoop: € 5.00

Locatie
WORM
Boomgaardsstraat 71
3012 XA Rotterdam

I’m happy to share the code from a Facebook app I created for a workshop earlier this year.

This simple Facebook canvas application was originally demoed during the Freedom for Our Files workshop at the 2011 Art Meets Radical Openness festival in Linz, Austria. You can view and download the source code on github

The application is very simple; it creates a Facebook object, performs calls to get data belonging to the current user, then prints the data exactly as it is returned. It has examples of basic Facebook Graph API calls as well as an example of FQL (Facebook Query Language).

Here are some images Ryan Boatright of Atelier Boba made while he was printing one of my network visualizations from the I Am Unable to Fulfill Your Wish series on their new line plotter. The prints arrived last week from their location in Paris and are great to see in person. The line plotter repeated so many of the lines it actually polished the surface of the paper causing the print to reflect light.

I was quoted recently in a TechCrunch article about the ongoing battle between Google and Facebook to draw users to their respective social networking services. In the article, The Only Backdoor Left To Sneak Your Facebook Friends Into Google+ Is Yahoo, Erick Schonfeld writes:

‘Over the weekend, Facebook blocked a Google Chrome extension called the Facebook Friend Exporter. And in fact, Facebook changed its OAuth 2.0 API in such a way that it “suddenly removed email addresses from the queries without warning,” says Owen Mundy, creator of Give Me My Data. Other data can still be exported, just not your friends’ email addresses.’ [1]

I wanted to clarify something about the above because my contribution is slightly vague. I also wanted to elaborate for other developers and people interested in how to get their data, specifically the email addresses *out* of Facebook.

Getting your data our of Facebook is a hot issue right now with the emergence of Google+. It’s important to be able to preserve your data, especially in the event you want to exit Facebook, or prepare for its possible demise. I think most people don’t care which social networking software they use, as long as they can stay in touch with their friends. Many depend on Facebook to keep their friends’ contact information up to date. Their friends’ phone numbers, emails, and physical addresses may have changed, but they can still be found on Facebook.

This is one great benefit of Facebook, but I think they’ve come to take a higher-than-thou approach to user data. For example, if I use a single software on my computer to manage contact data for my friends, send them messages with pictures, etc., I am not locked-into a contract with the machine nor the software. I physically have the device that stores this data in my possession, and therefore can do whatever I like with it—assuming I can wrangle my data out of it.

One of the great benefits of the cloud is access, right? Wrong. Facebook has a god’s eye view regarding the matter of our data. The view from on high is that they can do whatever benefits Facebook, not necessarily the user. So they continue profiting from our activity while protecting it’s evidence from any company/person/software which could compromise their lead in social networking. Unfortunately this includes us, so we are ultimately at their mercy.

But Facebook is not a merciless God. They don’t charge to use their service or store my data. This is the tradeoff. We sacrifice privacy—our right to not be tracked, advertised to, or sniffed by governments—in order to play games, have stupid political debates, and post pictures of our kids. So, they have the right to allow or prevent access to this information, regardless of whether it is right.

Regarding getting email addresses of your contacts, as far as I know, there are three ways to mass export your friends’ contact data, only one of which is currently allowed by Facebook.

Hacking

The Facebook Friend Exporter, created by Mohamed Mansour, is a browser extension that works independent of the Facebook API. It scrapes your friends’ contact data from the Facebook pages you visit and exports them as CSV. First, Facebook’s rules here for reusing this type of data are not exactly clear. While they don’t explicitly ban saving the contact info of your friends, the have a catch-all statement that tries to set guidelines for doing so. One could argue by accepting your friend request a user has already consented to sharing with you.

“If you collect information from users, you will: obtain their consent, make it clear you (and not Facebook) are the one collecting their information, and post a privacy policy explaining what information you collect and how you will use it.” [2]

One thing that is clear is the method the Facebook Friend Exporter extension uses is banned according to Facebook’s Statement of Rights and Responsibilities:

“You will not collect users’ content or information, or otherwise access Facebook, using automated means (such as harvesting bots, robots, spiders, or scrapers) without our permission.” [2]

And as expected, Facebook has taken measures to prevent Mansour’s app from working.

“Mansour says that Facebook removed emails from their mobile site, which were critical to the original design of his extension. He told me that the company had implemented a throttling mechanism: if you visit any friend page five times in a short period of time, the email field is removed.” [3]

This is not the first time Facebook has referenced their Statement of Rights and Responsibilities to take measures to keep user data from hackers, artists, or competitors. In 2010 they served moddr and other makers of the Web 2.0 Suicide Machine with a cease and desist letter to prevent them from providing a service for Facebook users to delete their accounts. The letter, which claimed the project was guilty of “Soliciting users’ Facebook login information; Accessing a Facebook account belonging to someone else; Collecting Facebook users’ content or information using automated means such as scripts or scrapers without Facebook’s permission” was possibly effective. Currently only users of MySpace, LinkedIn and Twitter can commit “virtual suicide.”

The Face to Facebook (see image on left) project by Paolo Cirio and Alessandro Ludovico stole one-million Facebook profiles, filtered them with face-recognition software, and then posted them on a fake dating website sorted by facial characteristics. From a statement by the makers:

“Everybody can steal personal data and re-contextualize it in a completely unexpected context. And that shows, once more, how fragile and potentially manipulable the online environment actually is.”

I agree, and I like the project. But in a public work such as this it’s hard to argue, in my opinion, that this project will help the average web user. While many may reconsider the type of information they post, more than likely they will think this project is another example of the “bad guys” (a.k.a. hackers) doing bad things. While it critiques, in a very amusing and relevant way, the issue of online privacy, it leaves the user feeling violated, not necessarily thoughtful. As a work of protest it encounters the same problem that holding a giant sign in someone’s face that says “go to hell”—It makes it hard for the other person to see your perspective when you do that.

While I appreciated the fun jab and reference to FaceMash, Facebook did not see the humor in the project. The creators received cease and desist letters and were threatened with multiple lawsuits from Facebook’s lawyers. And in a final spiteful measure, Facebook deleted their profiles [4]. Apparently the rule is, what happens on Facebook, stays on Facebook.

Using the API

While I was sure that in the past my app, Give Me My Data, was able to retrieve a user’s friend’s email address, when I tested it after the Facebook Friend Exporter news broke I found no emails. Looking around the web I can’t find any evidence that Facebook ever allowed this data to be accessed. While you can still export all other data from your Facebook profile using Give Me My Data, this tiny and important string of characters with an ‘@’ is one essential component Facebook won’t allow. Likely, the policy was spurred by spam prevention, but given the above, it has the added bonus of blocking an exodus of users from Facebook.

In any case when you run the following FQL (Facebook Query Language) against their API it doesn’t error. This means the field exists, but they have written a custom script to remove it from the results.

SELECT first_name, middle_name, last_name, email
FROM user
WHERE uid IN (SELECT uid2 FROM friend WHERE uid1 = me())


Becoming a Preferred Developer

In the article above, Schonfeld also explains how users can access their Facebook friend’s contact info by first importing it into a Yahoo! account and then exporting a CSV which can be imported into Google+ (or anything for that matter). I believe that Yahoo! belongs to the Facebook Preferred Developer Consultant Program which gives them access above and beyond regular developers:

“Facebook provides PDCs with increased access to its employees and training. PDCs are expected to abide by program expectations around policy compliance, integration quality, and high-level cooperation with Facebook.” [6]

Whatever kind of cooperation it is that Facebook is giving these preferred developers, one can be sure it includes access to data Facebook considers sensitive, like email addresses. While Yahoo! is not listed as a preferred developer on the Facebook page above, they have access to the emails so they clearly have some kind of arrangement.

Google, on the other hand, most definitely does not. This is not the first time Google and Facebook have gotten into a scuffle over sharing (or lack of) data. Late in 2010 Google stated they would no longer allow Facebook and other services access to their users’ data unless Facebook or the other service allowed data to be accessed by Google. [7]

In closing, we already know everyone wants our data. All the clicks, likes, comments, photos, and video we incur or upload are tracked, analyzed, and ultimately compiled and sold to advertisers or others in the business of molding consumer (or political) behavior. We’ve come a long way since Gutenberg, but just like when he was alive, it seems there will always be powerful groups in control of the media of the day. And, even with the utopian promise of a democratic internet, information continues to be manipulated or hidden in order to keep them powerful.

Notes

1. Schonfeld, Erick, “The Only Backdoor Left To Sneak Your Facebook Friends Into Google+ Is Yahoo,” Jul 5, 2011, http://techcrunch.com/2011/07/05/google-facebook-friends-yahoo/
2. “Statement of Rights and Responsibilities,” Facebook, last revised April 26, 2011, http://www.facebook.com/terms.php
3. Protalinski, Emil, “Facebook blocks Google Chrome extension for exporting friends,” July 5, 2011 http://www.zdnet.com/blog/facebook/facebook-blocks-google-chrome-extension-for-exporting-friends/1935
4. “Angry Victims and Eager Business Partners React to the “Face to Facebook” Art Stunt,” ARTINFO, February 11, 2011 http://www.artinfo.com/news/story/36963/status-update-angry-victims-and-eager-business-partners-react-to-the-face-to-facebook-art-stunt/
5. Gayathri, Amrutha, “Why Facebook’s Acts of Desperation Are Not Enough to Stop Google+,” International Business Times, July 6, 2011, http://www.ibtimes.com/articles/174946/20110706/google-plus-facebook-chrome-extension-block-facebook-friends-exporter-disable-social-network-yahoo-b.htm
6. “Facebook Preferred Developer Consultant Program FAQ,” http://developers.facebook.com/preferreddevelopers/#FAQ
7. Oreskovic, Alexei, “Google bars data from Facebook as rivalry heats up,” Reuters, Nov 5, 2010, http://www.reuters.com/article/2010/11/05/us-google-facebook-idUSTRE6A455420101105

No one would be surprised to learn that almost all of the user-generated content websites use our personal data to sell advertisements. In fact 97% of Google’s revenue comes from advertising.[1] That’s why it’s important these sites provide as much access as possible to the real owners of our data‐us. After all, we put it there and allow them to use it in exchange for the use of their software. Seems like a fair trade if you ask me.

A year and a half ago Facebook didn’t provide any access. That’s why I created Give Me My Data, to help users reclaim and reuse their personal data they put on Facebook.

By giving more agency to users of online systems, Give Me My Data may have already impacted the nature of online application development. In November 2010, almost a year after I launched Give Me My Data, Facebook created their own service for users to export their profile from Facebook as a series of HTML pages. Unlike Give Me My Data, the Facebook service doesn’t allow you to select which data you want or to choose custom formats to export. It also doesn’t give you options for visualization like the custom network graphs that Give Me My Data offers.

I believe their motivation originates in part with my application, likely due to the popularity of Give Me My Data, and points to the potential usefulness of similar apps. While years down the road may reveal many other online systems giving users control over their data, I see this as a positive effect where the content we create, as well as the means to share and manage it, are democratized.

Meanwhile, the above also keeps me hard at work developing the Give Me My Data project. This week I rewrote the program to use Facebook’s new OAuth authorization, which also required rewriting all of the code that fetches the data. Previously it used the REST API which is being deprecated (sometime?) in the future. I also added new data types, fixed the CSV format (which had the rows and columns mixed-up), and added the possibility to export in the JSON data format.

Finally, in the data selector, I distinguished standard data and customized data types. When I say customized, I mean that I’ve written code that mashes together more than one data table and/or addresses a specific question. For example, right now users can select from two types of network graphs and corresponding formats. One describes the user’s relationship to their friends, and the other describes the user’s relationship to their friends, as well as all their friends’ relationships to each other in various graph description languages. This is how I made the network graph image below. I’m also interested in hearing other suggestions for custom queries I might add. The project will be open source on Github soon, so even code contributions will be welcome.

Anyway, please try out the new version. You may have to delete the app from your allowed applications and then re-authorize it if you’ve used it before. As usual, you can provide feedback on the application page, and you can also contact me on Twitter via @givememydata.

[1] “Google Financial Tables for Quarter ending June 30, 2009” Retrieved October 13, 2010

When it comes to personal data everyone’s first concern is usually privacy. But a lot of us want to share our data too, with friends, colleagues, and even complete strangers. While numbers have been used for centuries to improve the way we manufacture and do business, using them to quantify our personal lives is a recent phenomenon.

I’ve been thinking about this because one of my goals in creating Give Me My Data was to inspire others to reuse their data, and respond with images and objects they created. But I’m learning if you don’t know a programming language your choices are somewhat scattered and intimidating.

In a recent email exchange with Nicholas Felton, creator of daytum.com and other quality data products, I asked him what other user data sharing and/or visualization web applications he might have encountered while working on daytum.

Included in this article are the three apps he mentioned with my research plus nine additions of my own. All of the apps I mention help users access their own data to track, share, and/or visualize it either by recording it themselves or exporting it from another software. There’s a table at the end of the article to summarize and compare each.

Give Me My Data givememydata.com free

First, to give some context, Give Me My Data is a Facebook application that helps users export their data out of Facebook for reuse in visualizations, archives, or any possible method of digital storytelling. Data can be exported in common formats like CSV, XML, and JSON as well as customized network graph formats.

Daytum daytum.com free/$$

And to further contextualize, I’ll also address Daytum, an online app that allows users to collect, categorize, and share personal or other data. You can add any data that can be quantified or written down and organize and display it in many forms including bar and pie charts, plain text, and lists. There’s also a mobile site for quick submissions from your device or you can use their iphone app.

Geckoboard geckoboard.com $$

Geckoboard is a hosted real-time status board for all sorts of business (or personal) data. You can view web analytics, CRM, support, infrastructure, project management, etc., in one interface, on your computer or smart phone. To see data from other web services in your “dashboard” you add “widgets”—choose from a large list of APIs, give permissions, configure a variety of options, and see your data in a customized graph. Note though, this service is only for presenting data that is hosted elsewhere, and only in this interface. If you like looking at numbers all day, this is for you.

Track-n-Graph trackngraph.com free/$$

Track, graph, and share any information you can think of: your weight, gas mileage, coffee consumption, anything. The design is a little awkward, the graphs don’t display in Chrome or Safari (Mac), and as far as I can tell there’s no API, but the site seems very useful for storing and making simple graphs of your personal data. There are also various “templates” you can reuse to keep track of data like the Workout Tracker, which has fields for gender and age in addition to minutes you worked out, all of which are important in figuring other data (e.g. calories).

your.flowingdata.com your.flowingdata.com/ free

your.flowingdata lets you record your personal data with Twitter. With it you can collect, interact, customize views, and determine privacy by sending private tweets to your account. This project is created by Nathan Yau who writes Flowing Data and studies statistics at UCSD.

mycrocosm mycro.media.mit.edu free

Mycrocosm is a web service that allows you to track and share data and statistical graphs from the minutiae of daily life. Mycrocosm was developed by Yannick Assogba of the Sociable Media Group of the MIT Media Lab.

ManyEyes www-958.ibm.com free

ManyEyes is a project by the IBM Research and the IBM Cognos software group. On Many Eyes you can upload your own data and create visualizations, and view, discuss, and rate other’s visualizations and data sets. It is a great concept but it hasn’t evolved much since its original launch. In fact I’m finding the visualization technology has slowly devolved, leaving only about 20% of visualizations actually displaying (Chrome 12.0 on OSX 10.5.8 if folks are reading).

Fitbit fitbit.com $99.95

The Fitbit is a hardware device which tracks your motions and sleep throughout each day. This data can be uploaded and visualized on their website to realize information about your daily activities like calories burned, steps taken, distance traveled and sleep quality. The Fitbit contains a 3D motion sensor like the one found in the Nintendo Wii and plugs into a base station to upload the data.

Personal Google Search History google.com/history free

When I first saw this application on the Google site I was immediately alarmed. The amount of data they have collected is staggering; for example, “Total Google searches: 36323.” (since Jan 2006) This is a fantastic picture into the life of a user and what they are reading, watching, responding to. It’s like another, admittedly less manicured version, of Facebook. Instead of creating a profile, I am being profiled.

The privacy implications are serious here, which is probably why you have to login again to view it. It is also why a user’s search history draws the interest of interface artist, Johannes P. Osterhof, who is in the process of exploring the line between private and public data, as well as the even further-evaporated division between surveillance and social networks, in his one-year-long search history-made public project, simply titled, Google.

But, as everyone probably already knows, these big companies are making money and providing services. Google has the resources to take your privacy seriously. Well, kind of, because it mostly doesn’t fit into their business model to not track people.

Google Takeout google.com/takeout free

Speaking of funding, I’m quite impressed by this project. Google Takeout is developed by an engineering team at Google called the Data Liberation Front who take their jobs very seriously. In addition to their Google Takeout project, which allows you to export some of your data from Google, they have a really great website with current information about getting access to the data you store with Google.

gottaFeeling gottafeeling.com free/$$

gottaFeeling is an iphone application that allows you to track and share your feelings. It’s a simple concept, and while loaded down with a lot of rhetoric, reminds me of the amazing, “We Feel Fine.”

BuzzData buzzdata.com unsure

Finally, I’ll end with BuzzData, a data-publishing platform that encourages the growth of communities around data. Not yet public, I’ve received a private taste of what this app will do, and it looks like it will be pretty cool. Think a mashup between Github and ManyEyes.

So I’ll end with the table I created in my research. There are obviously many more types of ways to keep and manage data that I haven’t addressed here, but this is a good start. For further reading check out the Quantified Self blog/user community/conference created by Gary Wolf, who also authored, The Data-Driven Life, the New York Times article linked above.

Update: Check out Google Guages and other Google Charts.

A semantic network visualization and detail using tags generated from the hierarchical tagging system I created with Thomas Evan Lecklider as part of my Camp La Jolla Military Park project.

For example this item, Defense Contractors recruit at UCSD Job Fair, in the park is filed under: business » arms industry » spending » recruiting

I’ve just returned from Linz, Austria, where I attended the art and technology festival/conference/exhibition called Art Meets Radical Openness (LiWoLi 2011). It is put on and hosted by Ushi Reiter and others of servus.at, and Martin Kaltenbrunner (creator of Reactable) and others at the Kunst Universität Linz.

While I was here I met a lot of friendly and engaging people, and saw some great works, talks, and performances. I also gave a paper about Give Me My Data, titled, “The Self-Indulgence of Closed Systems.” The presentation was about my current research into historic and contemporary modes of surveillance, ensuing privacy issues, and examples of resistance to these modes of data gathering. It was part the Naked on Pluto lecture series, organized by the cheery Marloes de Valk.

I also conducted a 2-day workshop, “Freedom for Our Files: Creative Reuse of Personal Data,” where I shared information and examples on how to go about data scraping and spidering, reuse and visualization, and using the Facebook API for all of the same, for creative or experimental purposes. I’ve posted some of the code and content from FFOF already.

One important motivation for my attendance was to meet programmers who might be interested in working with me on the more technical aspects of upgrading Give Me My Data to the new Facebook Graph API and finding a way around undocumented data limits imposed by Facebook that my users continue encountering.

Give Me My Data: A Short History

I thought I would give a little bit of a background here, about Give Me My Data, for those interested in its development and other related projects.

In 2008 I finished my Masters of Fine Arts at the University of California, San Diego with a thesis project titled Camp La Jolla Military Park. It was a fictional national park which documented the history and ongoing collaboration between the university with the defense industry. I created a custom content management system (PHP, MySQL, Google Maps API) and formed a group of collaborators to enter data in the system documenting relationships. The project exists now as a series of brochures and website which mimics the national park website and describes the research we conducted. I also gave tours of the “park” (campus) where technology was being developed for defense contractors and other sites with related interest.

The following year, while working during my first year as an assistant professor at Florida State University, I described and began developing aspects of a project I temporarily titled Automata. The project, which was a finalist in 2009 for the Rhizome Commission, proposed to use technology to visualize relationships in which there might exist ethical contradictions, but are difficult to discern for all the actors involved. An example of an ethical contradiction might be collaborations between the defense industry and educational institutions which encourage students to develop technology used to harm other human beings. I proposed to do this through various automated web spiders, semantic analysis, and finally visualizations and other interfaces to the data.

While working on Automata, which was named to reference the automation of the documentation Camp La Jolla performed, I was invited to MIT by Chris Csikszentmihályi, Research Scientist at the MediaLab and Director of Center for Future Civic Media at MIT, to discuss the project with members of his Center for Future Civic Media.

Later in 2009, while planning how I might visualize the network data from Automata, rather than creating the content from scratch I decided to use my Facebook contacts as a test subject. Since there was no application which exported data in various reusable formats, especially one which arranged the contacts into a format which described relationships, I created my own.

This application, live since October 2009, would soon became very popular in its own right. In late April 2010, Facebook made a change to the way they allowed users to present information about themselves. Previously entered user data was suddenly aggregated without permission in order to encourage strangers with common interests to form groups. This slight change in policy caused an uproar within the Facebook community because it attempted to force people together without regard to individual privacy.

Many Facebook users were originally attracted to the site because of its levels of privacy and therefore found this change to be manipulative and deeply disturbing. Further, users were no longer able to access or change this information because it had been incorporated into a larger structure. In their article, Facebook App Brings Back Data, May 1, 2010, The New York Times documented how my application allowed users to regain access to this and other information hidden behind the Facebook interface.

At this time, Facebook (still) did not feature a method to export your data for any purpose. In November 2010, likely influenced by Give Me My Data, Facebook finally added a way for users to export their profile data as a series of HTML pages. I believe their motivation originates in part with my application, and points to the effectiveness of such forms of public art / creative resistance to reach out beyond the art world and contribute to society in lasting ways.

What Now?

So in conclusion, I created Give Me My Data while working on projects related in concept and execution. While I have paused my work on Automata you can see some sitemap visualizations from the project in a series called Firing Blind.

As for the status of Give Me My Data, I developed it using the Facebook REST API, which will be deprecated soon. It uses both REST and FQL (Facebook Query Language) calls to help users access a variety of types and formats of their data. I’m working now to put the project on Github, thereby making the code open source, and also to invite others to help to upgrade the data retrieval method to the Facebook Graph API, and to improve existing code that reformats the data from JSON to XML, CSV, GraphML, Dot, and other popular data formats. Now that I have a handful of business cards and new acquaintances I’m looking forward to moving forward. Please get in touch if you are interested in contributing.

This weekend I am presenting a lecture about GIve Me My Data and conducting a two-day data-scraping workshop at Art Meets Radical Openness in Linz, Austria. Here are the details.

The Self-Indulgence of Closed Systems
May 13, 18:45 – 19:15
Part artist lecture, part historical context, Owen Mundy will discuss his Give Me My Data project within the contexts of the history of state surveillance apparatuses, digital media and dialogical art practices, and the ongoing contradiction of privacy and utility in new media.

Freedom for Our Files: Creative Reuse of Personal Data
May 13-14, 14:00 – 16:30
A two-day workshop, with both technical hands-on and idea-driven components. Learn to scrape data and reuse public and private information by writing custom code and using the Facebook API. Additionally, we’ll converse and conceptualize ideas to reclaim our data literally and also imagine what is possible with our data once it is ours! Register here

Art Meets Radical Openness (LiWoLi 2011),
Date: 12th – 14th May 2011
Location: Kunstuniversität Linz, Hauptplatz 8, 4020 Linz, Austria

Observing, comparing, reflecting, imitating, testing, combining

LiWoLi is an open lab and meeting spot for artists, developers and educators using and creating FLOSS (free/libre open source software) and Open Hardware in the artistic and cultural context. LiWoLi is all about sharing skills, code and knowledge within the public domain and discussing the challenges of open practice.

Giving a talk today in Dresden, Germany titled, “Give Me My Data: A Facebook Application Inspired by the Stasi Files Controversy.” Here is the abstract.

During the final days of the German Democratic Republic (or GDR) it became evident that the Ministry for State Security (more popularly known as the “Stasi”) was destroying incriminating evidence from its 40-year history of domestic and international surveillance. These documents, which the Stasi was attempting to destroy using shredding machines, as well as by hand when the machines failed, included information gathered through various clandestine methods about lives of citizens of the GDR without their knowledge or consent.

On January 15, 1990, protestors stormed the Stasi headquarters in Berlin in attempt to prevent the destruction of personal records which they felt they should be able to access. The phrase, “Freiheit für meine Akte!” (in English: Freedom for my file!) spray painted on the Stasi guardhouse during this protest embodies a desire by citizens to open this closed world of state surveillance in order to understand the methods of control employed the Stasi

This moment in history inspires my ongoing project, Give Me My Data, a Facebook application that helps users export their data out of Facebook. While clearly utilitarian, this project intervenes into online user experiences, provoking users to take a critical look at their interactions within social networking websites. It suggests data is tangible and challenges users to think about ways in which their information is used for purposes outside of their control by government or corporate entities.

At the height of its operations, the Stasi is believed to have hired, between spies and full- and part-time informants, one in every 6.5 East German citizens to report suspicious activities, almost 2.5 million people.1 At this moment, the ratio of people entering data on Facebook to non-members is one in fourteen for the entire world,2 introducing possibly the most effective surveillance machine in history.

This week I have been enjoying the blurred images of German buildings whose owners have chosen to opt-out of Google Street View. Infamous moments in the country’s history have led Germans to take privacy very seriously; especially when it comes to information about their residences. Unlike the United States, where data privacy is an opt-out option, Germany law states that, “citizens must opt-in to have their data collected in any way.” (1). In fact, there is a document detailing the rights of the “data subject” in the German Federal Data Protection Act which serves “to protect the individual against his right to privacy being impaired through the handling of his personal data.”

An even more powerful gesture are the very public images that have resulted from this protection. While they serve a specific function—to obscure identifying aspects of buildings, faces, etc.—they also communicate very effectively the message that individuals should have the right to decide how their data is used. This gets to the heart of the Give Me My Data app—to prompt this sort of discussion. It is then ironic that Google, a company whose revenue is based almost completely on advertising opportunities made possible by aggregating and re-representing data, has inadvertently brought us this message.

I was excited to find my own apartment building in Berlin has been removed.

Another building down the street

Helge Denker, a reporter with the German daily, Das Bild, has found a clever way to opt-out.

If you are in Los Angeles / Long Beach check out Keyword Intervention at this group show:

inSCRIPTion: … text … image … action …
November 8th – December 9th
Opening Reception: November 9, 2010 (3-7 pm)

Cerritos College Art Gallery
11110 Alondra Blvd
Norwalk, CA

The current ubiquity of transmediated and telepresential dialogues, most notably via the casual and partially-inscriptive technologies of computer-aided chat programs and cell-phone text messaging, certainly complicates the age-old distinction between written and oral communication, and between langue and parole. In part, this conceptual convergence is predicated on the collapsing of linguistic signifiers into the immanent patterns of (un)becomings inherent to computational code. In such an (intra-)active environment, the living fluidity of dialogue is often actualized by digits (a technophenomenological fusion of finger movement and binary language) and the lifeless permanence of inscription can manifest as a dynamic system of inSCRIPTion.

Reveling in the physical and conceptual opacity of words, the fourteen contemporary artists participating in inSCRIPTion at the Cerritos College Art Gallery, in aiming for a field of matrixial encounters, produce materialized event-scores that hover somewhere between notation and realization and which play games with language through transplantation into various deviant contexts. Some of the diverse multi-media works in the exhibition demand that the artist and/or viewer perform an action, while others emphasize the creative and performative act of reading itself. Still others contain moving, as opposed to static, text and/or process found language through a scripted algorithm. The end results of these (re)visualized schemas include readymade actions, speaking objects, and literal semiotic machines that nevertheless remain discursively framed, which is not to say trapped, by the nationalist, racial, gendered, and sexed, political/philosophical structures in which they are embedded.

Participating Artists: Lisa Anne Auerbach, John Divola, Jonmarc Edwards, Mark Steven Greenfield, Jim Jenkins, Sherry Karver, Jason Manley, Katja Mater, Anna Mayer, Owen Mundy, Christina Ondrus, Lizabeth Eva Rossof, Cody Trepte, and Penny Young

Curated by James MacDevitt.

I’ve been trying for a few hours to run a Python script from The Sunlight Foundation Labs which downloads (and updates) a campaign finance database from the Center for Responsive Politics. See their original post for more information.

In the process of getting this working I accidentally broke a working copy of MySQL and overwrote a database installed on my MBP (which I had stupidly not backed-up since last year). FYI, you can rebuild any MySQL database with the original .frm, .MYD, and .MYI files if you 1. Recreate the database in the new install of MySQL and 2. Drag the files into the mysql data folder.

I struggled quite a bit getting Python to work with MySQL via MySQLdb. I’m documenting some of the headaches and resolutions here in case they are useful. I’ve tried to include error messages for searches as well.

The Sunlight Foundation instructions require Python and MySQL, but don’t mention you have to have already wrestled with the madness involved in installing Django on your machine. Here is what I did to get it working on my MacBook Pro Intel Core 2 Duo. I’ve included their original instructions with my own (and a host of others).

Instructions

1. Install MAMP.

   While I had working installations of MySQL and Python (via installers on respective sites), I couldn’t get Python to connect to MySQL via MySQLdb. I decided to download and try MAMP for a clean start.

2. Install XCode

   Past installs are available on Apple Developer website.

3. Install setuptools

   Required for the MySQLdb driver. Remove the .sh extension from the filename (setuptools-0.6c11-py2.7.egg.sh) and in a shell:

   ~$ chmod +x setuptools-0.6c11-py2.7.egg
~$ ./setuptools-0.6c11-py2.7.egg

4. Install the MySQLdb driver

   After downloading and unzipping, from the directory:

   ~$ python setup.py build
~$ sudo python setup.py install

   Continue following the advice of this post to the end How to install Django with MySQL on Mac OS X.

   I also followed another piece of advice in Python MySQL on a Mac with MAMP to change the mysql_config.path from:

   /usr/local/mysql/bin/mysql_config

   to

   /Applications/MAMP/Library/bin/mysql_config

   Especially useful is his test script for making sure that Python is indeed accessing MySQL.

5. Create a symbolic link between Python and MySQL in MAMP

   This is required in order to use a socket to connect to the MySQL. See How to install MySQLdb on Leopard with MAMP for more information.

   ~$ sudo ln -s /Applications/MAMP/tmp/mysql/mysql.sock /tmp/mysql.sock

6. Create a directory and put the two Python files in it.
7. Modify the top of the sun_crp.py file to set certain parameters–your login credentials for the CRP download site and your MySQL database information.
8. Install pyExcelerator

   Error: ImportError: No module named pyExcelerator

   I had to install this module next.

9. Comment out multiple lines

   Error: NameError: name 'BaseCommand' is not defined

   In download.py comment out the following:

   The line: from django.core.management.base import BaseCommand, CommandError

   Everything from class CRPDownloadCommand(BaseCommand): to the end of the document.

10. From the command line, run the script by typing, from the proper directory: Python sun-crp.py.
11. It will take several hours to download and extract the data, especially the first time it’s run. But after that, you’re good to go.

Howdy, it’s been awhile since I last shared news about recent and ongoing projects. Here goes.

1. You Never Close Your Eyes Anymore

You Never Close Your Eyes Anymore is an installation that projects moving US Geological Survey (USGS) satellite images using handmade kinetic projection devices.

Each device hangs from the ceiling and uses electronic components to rotate strips of satellite images on transparency in front of an LED light source. They are constructed with found materials like camera lenses and consumer by-products and mimic remote sensing devices, bomb sights, and cameras in Unmanned Aerial Vehicles.

The installation includes altered images from various forms of lens-based analysis on a micro and macro scale; land masses, ice sheets, and images of retinas, printed on reflective silver film.

On display now until July 31 at AC Institute 547 W. 27th St, 5th Floor
Hours: Wed., Fri. & Sat.: 1-6pm, Thurs.: 1-8pm

New video by Asa Gauen and images
http://owenmundy.com/site/close_your_eyes

2. Images and video documentation of You Never Close Your Eyes Anymore will also be included in an upcoming Routledge publication and website:

Reframing Photography: Theory and Practice
by Rebekah Modrak, Bill Anthes
ISBN: 978-0-415-77920-3
Publish Date: November 16th 2010
http://www.routledge.com/books/details/9780415779203/

3. Give Me My Data launch

Give Me My Data is a Facebook application designed to give users the ability to export their data out of Facebook for any purpose they see fit. This could include making artwork, archiving and deleting your account, or circumventing the interface Facebook provides. Data can be exported in CSV, XML, and other common formats. Give Me My Data is currently in public-beta.

Website
http://givememydata.com/

Facebook application
http://apps.facebook.com/give_me_my_data/

4. Give Me My Data was also covered recently by the New York Times, BBC, TechCrunch, and others:

Facebook App Brings Back Data by Riva Richmond, New York Times, May 1, 2010
http://gadgetwise.blogs.nytimes.com/2010/05/01/facebook-app-brings-back-data/

5. yourarthere.net launch

A major server and website upgrade to the yourarthere.net web-hosting co-op for artists and creatives. The new site allows members of the community to create profiles and post images, tags, biography, and events. In addition to the community aspect, yourarthere.net is still the best deal going for hosting your artist website.

Website
http://yourarthere.net

More images
http://owenmundy.com/site/design_yourarthere_net

6. The Americans

The Americans is currently on view at the Northwest Florida State College in Niceville, FL. It features a new work with the same title.

More images
http://owenmundy.com/site/the-americans

7. Your Art Here billboard hanger

I recently designed a new billboard hanging device and installed it in downtown Bloomington, IN with the help of my brother Reed, and wife Joelle Dietrick.

Stay tuned here for news about Your Art Here and the new billboard by Joelle Dietrick.
http://www.facebook.com/pages/Your-Art-Here/112561318756736

8. Finally, moving to Berlin for a year on a DAAD fellowship to work on some ongoing projects, including Automata.

More images
https://owenmundy.com/blog/2010/07/new-automata-sitemaps/

I’ll be giving a paper about Automata at the upcoming ISEA2010 conference in Ruhr, Germany.
http://www.isea2010ruhr.org/conference/tuesday-24-august-2010-dortmund

Many thanks to Chris Csikszentmihályi, Director of the Center for Future Civic Media http://civic.mit.edu/ , for inviting me to the MIT Media Lab last August to discuss the project with his Computing Culture Group: http://compcult.wordpress.com/

Katherine Sweetman, has just posted a great video documenting the Lucent project we did at the University of California, San Diego.

BBC News reports on Give Me My Data. Their website and video player is pretty clunky, and while they avoid crediting the developer, its still a nice plug to wake up to.
http://news.bbc.co.uk/2/hi/programmes/click_online/8744514.stm

Give Me My Data mentioned in a Bild article:

Die peinlichsten Einträge bei Facebook, StudiVZ und Twitter The most embarrassing messages on Facebook, StudiVZ, and Twitter (English), May 22, 2010

Read the full translation

(translated from German) “Many users are unaware that their comments will be permanently stored in networks. For example Facebook can retrieve all stored Stautusmeldungen. The U.S. Professor Owen Mundy has a developed application, Facebook members ever entered all the data and displays the posts. Under “Select Data”, you select which data you want to see (for example, personal data, status messages). Here also dive old, long deleted on posts, which are provided with a time code. Facebook apparently never forgets.”

More press for Give Me My Data, this time by Rohit Khare from TechCrunch (thanks for the note Evan.).

“Give Me My Data has a more open-ended design that supports exploration and experimentation, in part because it sports an impressive array of formats to download your friend lists and other information for use in other projects such as visualization and charting. Owen Mundy at Florida State originally developed it for his own use, but “this week it kind of exploded because of the interface changes.” That could either be a sign of broader awareness of how much data users share with Facebook; or it could be the acute interest users have in putting profile data that Facebook “lost” right back onto Facebook (a feature that may be coming soon).”

Two Facebook Apps To Help You Fight Back Against Facebook
by Chris Walters, The Consumerist, May 4, 2010

Give Me My Data Helps Refill Blanked Facebook Profiles
by Curt Hopkins, ReadWriteWeb, May 2, 2010

Facebook App Brings Back Data by Riva Richmond, New York Times, May 1, 2010

“The app is “making hackers out of regular users,” says the developer, Owen Mundy, an assistant professor in Florida State University’s art department. And it’s giving them a way to exercise ownership rights over their data. (After all, Facebook’s Statement of Rights and Responsibilities says users “own all of the content and information” they have posted on Facebook.)”

Give Me My Data (fb_friends_20100128_white)

Give Me My Data (fb_mutualfriends_20091114_black)

Give Me My Data (fb_mutualfriends_20100430_dark3)

Give Me My Data (fb_profile_xml_20100430)

Today I launched the public alpha version of my Facebook application Give Me My Data for testing and feedback. This app helps you reclaim and reuse your Facebook data.

Feel free to test it and let me know what you think!

Space Relations
Joelle Dietrick, Owen Mundy, and Chad Erpelding
621 Gallery
February 5 – 26, 2010
OPENING: First Friday, February 5, 2010, 6-9p

621 Gallery is pleased to present Space Relations, an exhibition of new work by Joelle Dietrick, Owen Mundy, and Chad Erpelding, on view from February 5 through 26, 2010. An opening reception will be held on Friday, February 5th, from 6:00 to 9:00 p.m.

Space Relations presents an exhibition exploring new ways to think about space. The exhibition playfully recognizes how our experiences warp our understanding of place, especially during tough economic times when often power positions are reordered and people are displaced.

Keyword Intervention has been included in the recent HZ Net Gallery update. Also included were: Alysse Stepanian, Rudi Punzo, Aaron Oldenburg, Aaron M. Higgens, Anders Bojen & Kristoffer Ørum.

Here are two images I created with NodeBox (Python) and PHP (data via facebook API).

All friends, one common link.

All the mutual connections I could gather before the script timed-out. Need to make the gathering more efficient.

“Anemophilous Formula for Computer Art, 2007, by Joelle Dietrick and Owen Mundy. One of my five selections. It consists of a wall projection of Tallahassee’s airport lounge, which hosts a wall size photographic reproduction of Mcklay Gardens. The city is often bombarded with pollen during the month of March. The airport lounge offers a reference of nature in an artificial space. Under the concept of non-places, which was my curatorial thematic, this work was placed in Centro Multimedia’s hallway where people constantly walked, to emphasize the use of the original image in a “non-place.””
—Eduardo Navas

Reblogged from http://remixtheory.net/?p=394

Tag cloud of ga-asi.com.