Author: phoebehewertson
A4. Major Project — Expressing Weird Feelings
https://ph033b3.mmm.page
Phoebe Hewertson, (b. 2003)
Ph033b3 (website), 2024
Website
In an increasingly digital era, we seem to be spending a lot more time online and subsequently we are creating a lot of data. Data that we rarely consider, or analyse, yet that represents us in an online realm and is collected and categorised by state-controlled agencies and tech companies (algorithms, marketing, etc.) (Seaver, 2018). This led me to question how I can look to the positives of digital technologies mass collection of data on us, and more so; how my online identity exceeds my online profiles and the information that I willingly upload? I decided that a way to use the data for my benefit would be in the form of a memory aid, as a means to understand myself better. Ph033b3 (website) is an exploration of randomly selected periods in my life through a comparison of my (faltering) memory to the data that was collected on me from that time, investigating what traces of me are left in the data that I produce.
Source
Nick Seaver (2018) “What Should an Anthropology of Algorithms Do?” Cultural Anthropology, Vol. 33, No. 3, pp 375-85. Seaver 2018.pdf
Week 11 <3
Some of the recommendations from panel:
- Apps to try: Momento, Steps, Reporter – sources of data aggregation
- Pick a small period that matches your journalling, the smaller the better or pick at random
- Artists: Molly Soda, https://www.artblocks.io/curated/collections/memories-of-digital-data-by-kazuhiro-tanimoto
- Database films, diary films – Jonas Mekas’ transition to online diaries
I found getting feedback for my pitch really helpful to scale down my research and ideas. I am going to take on the small period suggestion and in turn get rid of my idea to base the study around an event from my past.
The website is coming together slowly but surely. I am still putting more time into the development of the visuals of the website and do need to shift into implementing the conceptual ideas through the content; sifting through the data and finding what’s relevant and how to present that on the website to convey meaning. In class Steph provided feedback for my YouTube page, saying that I should layer the data on top of or below the embedded youtube videos, instead of having seperate sections to show the physical work versus the data text (layers, layers, layers).
Looking at a reading I had for another one of my classes, Narrating the Self, which ended up being super related to this project of mine…. yay
Nick Seaver’s (2018) piece on algorithms, titled What Should an Anthropology of Algorithms Do? explores the ways in which algorithms shape humans and yet how they’re also made by humans. Seaver (2018) noting:
“… the essence of a contemporary algorithmic system: a steady accumulation of feedback loops, little circuits of interpretation and decision knit together into a vast textile. Every stitch is held together by a moment of human response … Although this weaving can take many forms, everywhere there are people making little stitches, tacking software to the social world” (2018:376 – 377).
Notes that my teacher, Linda Daley, drew from this include;
- “Once algorithms became digital, the human connection to the algorithm became more distant and also more hidden. This makes computational algorithms appear non-human or external to the human (rather than human generated) and gives an alienating, and sometimes magical, quality to them.”
- “Computational algorithms have the potential to threaten our unitary, autonomous, and self-determining sense of selfhood. Many view computational algorithms as a threat to our sense of self who we are on the basis that our human powers of reasoning, consciousness, and intelligence are considered to be the defining features of who we are as human.”
Applications to my website:
Looking at my data and humanising it, finding traces of me in it; my data is an extension of me, exists because of me…
Even just the poeticism of the quote and the romantic language used to describe an algorithm;
- how I can represent my data in a romantic way,
- how I can make code look pretty, &
- how, instead of words, the visuals of the website can represent the feelings and concepts.
Beautiful “Home Sweet Home” exhibition invite by Iza and Jess. Yay.
Organising and booking props has been a relatively straightforward task, the main issue has been regarding the flats and their safety. Originally we wanted to use the studio flats as the walls separating the rooms in our house, however it turned out to be too dangerous with the legs being trip hazards. Generally, flats are placed up in a studio and no one walks behind them, but for our exhibition people would be walking behind them constantly, and in low lighting too. So… Steph explained her previous use of C-Stands to create a barricade, using cloth. We were able to source nine C-Stands for our exhibition, and with Lukes help, 5 thin sheets of white cardboard – exactly the amount of walls we need. We will clip the cardboard between two C-stands to emulate a wall, one that can even be painted on or pinned in. How exciting!
Otherwise, everything is good in prop-ville. We were able to test a few of the LED lights too, and they were super easy to use and lit the room up beautifully. Their battery lasts up to 8 hours, so should be good for our exhibition!
Plans, times and things to do for next Thursday below:
Bibliography
Daley L (2024) ‘Week 10 Tutorial’ [lecture], RMIT.
Seaver N (2018) ‘What Should an Anthropology of Algorithms Do?’, Cultural Anthropology, 33(3):375-85. Seaver 2018.pdf
Week 10 <3
Mostly working on the visual elements that will make up the website… not so conceptual at the moment unfortunately. I hope that in making the website creative and fun it’ll reflect my inner workings and reflections visually and ideally aid the content that will be placed on top of these FUNKY background pages. It’s also a visual tool to differentiate the pages of the website and their differing subjects.
I have downloaded all of my data from Google, YouTube, Instagram and Spotify and am shifting through these folders trying to categorise and date the data I find. I still feel a bit directionless with the period, as different downloads span different time periods, so really what I’m looking for is a overlap in time between all the different sources I’ve downloaded. Regardless of the website, it is fun to look at all this data and see an image of myself in where I’ve been online… to translate that feeling now…
This was our final house layout; 3 bedrooms, a kitchen, a lounge room and a study. Only the bedrooms will be walled off, so that the house can feel open and inviting and because people needed to project in those rooms, so wall space and darkness was required. This layout is also super helpful for understanding what props are required and formulating a list.
Here is a test perspective from walking through the “front door”. The tables are emulating what will be the walls, made from studio flats. In this class we were trying to figure out the optimal layout and where peoples works can go. 
Here we have our mock couches in the “lounge room” and the main screen for video based projects. My art will be to the right of the main screen, in the “study”.
This is where my art will be ‘installed’, in the Study, with my website running on the desktop! I am lucky that no on else wanted to use the desktop, so I had no issues with feeling like my piece didn’t fit in the space it will be in. I need to start thinking about what sorts of decor I can add to this area to make it make “my room” as such and my website, just the projects general feel. Steph suggested a mouse pad, and I’m thinking maybe some stickers for around the frame or even a keyboard cover? If I can find one. Exciting.
Props Booking List
My contribution to the exhibition is through the Props team, which is Hilary and I. This has included going to the props store and sourcing what materials would be required for each room, seeing what props people need for their artworks, organising the booking for the props and facilitating with the tech people to try out differing options and test the props. So far Hilary and I have created a list with each item’s name and the corresponding image, to email off to Luke (the main tech from the TV studios), so that he can easily interrupt our massive request!
We tested a flat in the room today and discovered that they do indeed fit, quite snuggly in between the lights. However, we are still looking into other options regarding the availability and viability of the flats, as they may be a trip hazard.
Here is an example that Steph drew up, a way to divide a space she has previously seen/used:
Which is two C-Stands clipped to a piece of cardboard. This could be an easier, yet still effective, option if we decide that the flats are unsafe or unviable.
Week 9 <3
This week I did my Assignment 3 – Project Pitch in class. In having to put into words my ideas for Assignment 4, I feel like I understood more about why I was making a website and what it could include. I found it encouraging to get insights from the panel about my idea, and have confirmation that the idea had substance. I look forward to getting my feedback and developing the project more.
Main takeaways (that I remember) being:
- that I should choose the dates I reflect upon at random
- that I don’t have to reflect upon an event, &
- that writing is enough to represent my memory (in comparison to the visuals of the digital memories)
Here are the slides from my pitch (I had a lot of fun making them):
Looking at “the algorithmic self” in my Narrating the Self course with Linda Daley…
In his book Homo Deus: A Brief History of Tomorrow (2017), Yuval Harari suggests that tech companies like Amazon, Google, Facebook, and Netflix knew about his sexuality before he did, based on the suggested purchasing and viewing options their algorithms presented. These suggestions directed him toward content aligned with gay consumption patterns (Harari, 2016).
- This has similarly happened in America when a girl found out she was pregnant from Target ads???https://www.forbes.com/sites/kashmirhill/2012/02/16/how-target-figured-out-a-teen-girl-was-pregnant-before-her-father-did/
This targeted content curation is made possible by the vast amounts of data these companies collect and analyse, using increasingly sophisticated computing systems. This is often referred to as “data-ism,” which defines our contemporary era of information created by and about us.
“From the traces of those digital footprints we make online (what’s called the “metadata”) these two kinds of organisation (one commercial such as Google), the other governmental (ASIO or NSA) make meaningful categories or “measurable types” by which to classify (bundle) users (people like you and me).” – Linda Daley, 2024.
So, how does my online identity extend beyond and differ from the profiles I’ve created on Facebook, Instagram, and YouTube? The information I share on these platforms surely reflects who I am, presenting a “true,” “genuine,” or “authentic” version of myself in the offline world…?
How to explore the intersections between my online habits and how they represent me as an individual yet also as a consumer?
Beginning to download my data AHH. Big files, takes awhile, don’t really know what I’m looking for. I guess what I’ll be doing is just seeing what comes up as links between the different data I download; will there be similar dates? topics? memories? between the different platforms I’m downloading data from. I think this is the best way to chose the dates at random so that I can actually be sure I will have content for those dates, rather than picking a memorable time period but not having substantial data from that time (if that makes sense?).
What I’ve taken most interest in so far is Search Histories and profile/user summaries.
{
“Browser History”: [
{
“favicon_url”: “https://www.google.com/favicon.ico”,
“page_transition_qualifier”: “CLIENT_REDIRECT”,
“title”: “Google Takeout”,
“url”: “https://takeout.google.com/”,
“time_usec”: 1729551138597608,
“client_id”: “gzA7KpIn6oYY7YzPWXkkVA==”
},
{
“favicon_url”: “https://www.google.com/favicon.ico”,
“page_transition_qualifier”: “CLIENT_REDIRECT”,
“title”: “Manage your exports”,
“url”: “https://takeout.google.com/manage?pli=1”,
“time_usec”: 1729551137722802,
“client_id”: “gzA7KpIn6oYY7YzPWXkkVA==”
I think the website will all come together but I feel a bit directionless in what exactly I’ll be creating with the data and what it’s going to say; will the point be understandable/communicated effectively?
Sources
Daley L (2024) ‘Week 10 Tutorial’ [lecture], RMIT.
Harari Y (2017) Homo Deus: A Brief History of Tomorrow, Random House, United Kingdom.
Experiment #2: And See What Happens.
Experiment Six – DATA DATA EVERYWHERE (Week Six)
Note
Playlist Cover Image generated using Canva’s Magic Media from the prompt:
},
{
“endTime” : “2023-09-09 15:47”,
“artistName” : “The Radio Dept.”,
“trackName” : “Pulling Our Weight”,
“msPlayed” : 1791
},
{
“endTime” : “2023-09-09 15:47”,
“artistName” : “Morrissey”,
“trackName” : “I Wish You Lonely”,
“msPlayed” : 4416
},
{
“endTime” : “2023-09-09 15:47”,
“artistName” : “MOTO BANDIT”,
“trackName” : “OBSERVATIONS 1”,
“msPlayed” : 0
},
{
“endTime” : “2023-09-09 15:53”,
“artistName” : “Billy Bragg”,
“trackName” : “Must I Paint You a Picture”,
“msPlayed” : 332373
},
{
“endTime” : “2023-09-09 15:58”,
“artistName” : “The Smiths”,
“trackName” : “The Headmaster Ritual – 2011 Remaster”,
“msPlayed” : 295440
},
{
“endTime” : “2023-09-09 15:58”,
“artistName” : “Simon & Garfunkel”,
“trackName” : “April Come She Will”,
“msPlayed” : 0
},
{
“endTime” : “2023-09-09 16:03”,
“artistName” : “DOPE LEMON”,
“trackName” : “Neon Lights”,
“msPlayed” : 285778
},
{
“endTime” : “2023-09-09 16:06”,
“artistName” : “Dana and Alden”,
“trackName” : “Let’s Go to Trader Joe’s”,
“msPlayed” : 156026
},
{
“endTime” : “2023-09-09 16:13”,
“artistName” : “Jean & Trevor”,
“trackName” : “Back Together”,
“msPlayed” : 405682
},
{
“endTime” : “2023-09-09 16:20”,
“artistName” : “Yo La Tengo”,
“trackName” : “Center of Gravity”,
“msPlayed” : 0
},
{
“endTime” : “2023-09-09 16:23”,
“artistName” : “Good Morning”,
“trackName” : “Out To Pasture”,
“msPlayed” : 155500
},
{
“endTime” : “2023-09-09 16:26”,
“artistName” : “Jessica Pratt”,
“trackName” : “Back, Baby”,
“msPlayed” : 235666
Reflection
Long one, sorry xoxox
The words that come to mind when one mentions Big Data would be; surveillance — human and technological — invasion of privacy, records, scary, daunting, massive and even unnecessary (???). I haven’t looked into it. That is, looked into my own data or even thought very deeply about the data that is being collected of me. I know that it is happening, and I don’t take many precautions online to protect my privacy. I notice the disturbing accuracy of the product advertisements that appear all over my laptop and phone after the conversations I have with others, and even after the thoughts that pop through my mind. I think frequently about what online history I would be confronted with if I went for a job that needed a high security clearance: internet searches or photos taken or conversations had that I ceased to remember moments after actioning them but that have been stored forever and could be interpreted in any number of ways for the rest of my life. Is that kind of record necessary? “Necessary for what?” I suppose is the right question, and from a marketing point of view, it would probably be argued that it is necessary.
Through this experiment, I will try to look at Big Data differently: What are the benefits? For me personally that is, and how can I gain something from the data that I am generating?
As Kitchin and McArdle stated “It is only through such ontological work that we will gain conceptual clarity about what constitutes Big Data, formulate how best to make sense of it, and identify how it might be best used to make sense of the world.” (2016:1). This stirs something in me. I, unfortunately, am not a memory gifted human being. I am forgetful, and I want to remember. I am constantly looking back on my camera roll to remember dates, events, places and people. That is, I am relying on this data that I say I dislike. (Though surely photo mapping is a different thing altogether, because how is it photo mapping creating data for marketing or profit through the locations of my images? Surely there is something more personal about the use of that data? I could go on asking questions forever). I must face it; the capability of technology to categorise, memorise and store data is impressive. And frankly, I could use its help.
I chose to use the Big Data that has been collected from my Spotify account (a less daunting collection of info on me). I didn’t really know what to expect but I was pleased to find my entire streaming history from 2023. An enormous conglomerate of every song I listened to, for how many milliseconds, at what time, and on what day. Spotify is an interesting one because I am already gifted with my Spotify Wrapped yearly and can see a funky, curated collection of my listening data from that year. But even though I am somewhat accustomed to looking at my listening history already, it was much more personable to look at my data in this volume. The fact that I could look at specific days and see exactly what I listened to feels so intimate. Data feeling intimate? A benefit…?
For my work, I chose to pick a random streaming session of mine, from the 9th of September 2023, and I recorded the songs I listened to, in the exact same order and for the exact same amount of time I listened to each song for on that day. When I chose to play music that day, I never thought about the event reoccurring. I can see the benefits in this; I can see how this can assist memory and how it can regenerate experiences or emotions. But on the other hand, I’m not sure if these experiences need to be recreated. I don’t know how I feel about it; it’s like seeing the data is okay but turning the data into the audio I once listened to authentically feels automated? I want to be able to have experiences that are just mine, and if I forget them that is okay because in the moment I felt it. Maybe it’s that I don’t want someone to equate my data to who I am as a person. Am I my data? EUGH. ew ew ew ewe, but like what were people defined by before technological data? How did that affect their identity? They probably weren’t so concerned with labels and meaning?
Intellectually I can understand the benefits data can provide for my memory, and even for reflecting on my life and the stages of myself. I’m just not sure how it makes me feel, and that makes sense; it’s new, it’s complex, it’s uncertain and it’s ever evolving. I think it feels particularly weird to recreate music streaming sessions because I equate the music I listen to to the phase of my life I was in, and that is very feeling based, very intimate. Whereas an image is more quantifiable and tangible for me. I guess the nostalgia is nice, but do I want to linger in the past? HMMM.
Actually, I do think it would be fun to make a playlist that reflects over the same day from every year I’ve had Spotify or something like that. A consecutive evolution of myself over the years and the evolution of my music happening simultaneously. Could I learn something about myself that I have forgotten? Could I learn something new?
Bibliography
Billy Bragg (1988) ‘Must I Paint You a Picture’ [Song], Workers Playtime, Spotify, accessed 09 September 2023.
Dana and Alden, (2023) ‘Let’s Go to Trader Joe’s’ [Song], Quiet Music for Young People, Spotify, accessed 09 September 2023.
DOPE LEMON (2017) ‘Neon Lights’ [Song], Hounds Tooth, Spotify, accessed 09 September 2023.
Good Morning (2022) ‘Out To Pasture’ [Song], Out To Pasture / Misery, Spotify, accessed 09 September 2023.
Jean & Trevor (2019) ‘Back Together’ [Song], Back Together, Spotify, accessed 09 September 2023.
Jessica Pratt (2015) ‘Back Baby’ [Song], On Your Own Again Love, Spotify, accessed 09 September 2023.
Kitchin R and McArdle G (2016) ‘What makes Big Data, Big Data? Exploring the ontological characteristics of 26 datasets’, Big Data & Society, 3(1):1-10, doi.org/10.1177/2053951716631130
Morrissey (2017) ‘I Wish You Lonely’ [Song], Low in High School, Spotify, accessed 09 September 2023.
MOTO BANDIT (2020) ‘OBSERVATIONS 1’ [Song], OBSERVATIONS 1, Spotify, accessed 09 September 2023.
Simon & Garfunkel (1966) ‘April Come She Will’ [Song], Sounds Of Silence, Spotify, accessed 09 September 2023.
The Radio Dept. (2011) ‘Pulling Our Weight’ [Song], Passive Aggressive, Spotify, accessed 09 September 2023.
The Smiths (1985) ‘The Headmasters Ritual’ [Song], Meat is Murder, Spotify, accessed 09 September 2023.
Yo La Tengo (1997) ‘Center of Gravity’ [Song], I Can Hear The Heart Beating As One, Spotify, accessed 09 September 2023.
Experiment Five – GLITCH (Week Five)
Figure 1.
Figure 2.
Figure 3.
Reflection
Here we have a series of variations of ‘glitched’ artworks.
Figure 1 was the intended result of the image glitch experimentation we were doing in Wednesdays tutorial, that is editing an images makeup through the TXT format and returning it to a JPG format to view the results of the code alterations. However, due to a (rude) disagreement (glitch) from my laptop, I was unable to make this conversion at all. Figure 1 is a natural, that is unedited by me, result of a file conversation from a digital camera SD card to an iPhones camera roll. I just wanted to pop that in there to showcase what a glitch can look like in image form.
Figure 2 was my experimentation on a datamoshing website as a place filler for my inability to manually glitch my photos. I had a lot of fun on this website that generated different effects at the click of the button, but I would not classify these images as ‘glitches’ seeing as it is the result of filters and effects that changes the images appearance, not a destruction of its form. Nonetheless, it’s fun to play around with the differing components of photography; you could liken the white & black photo to a film negative.
Figure 3 is my actual attempt at glitching, in my limited ability to do so, which means, like my other experiments, it is a less literal take… As Cameron outlines ” the glitch reveals qualities that are quite specific to the digital image, in particular a mode of abstraction that is indexed to the invisible yet crucial function of underlying codes.” (2017:336). My approach here was to outline the ways a video is compiled of lots of frames, or photographs, something people know but don’t generally perceive unless the video (or moving image) glitches. The video could be likened to the glitch created when a DVD is scratched, and the scene stutters, replays or fails to progress forward. Similarly, when a video fails to load on a platform such as Netflix, the scenes can jolt by in freeze frames. This was the kind of glitch I was trying to emulate.
I created the video through a series of live photos of my friend dancing (movement = helpful), then I screen-recorded my camera roll as I swiped through the live photos and they played out for a second or two. Its an easy way to conceptualise the fact that a moving image is a bunch of photos cut quickly together. Yet, as the frames per second is not the same rate as a conventional moving image, you can see the stutters, replays and blurs between the live photos when they are placed together. Thus, a glitch if you were to believe that the films origins were in video (and not stills).
I had a lot of fun making this short clip; I think it’s cool to see a variation of how I’d normally understand moving image and it feels sort of abstract in that sense. I wouldn’t say I’m bang on the money with its relation to glitching as per the reading, because the glitch is more in form than the videos makeup in binary codes. I think the association is more loosely linked to the idea of a glitch as an error, and how this would be considered a streaming error if one was trying to watch a non-artistic video. I’ve learnt that I do not understand binary codes and how they create images. No idea at all. Beyond me really. I know that things go wrong, but I do not understand enough to ever know how to fix it. Much to learn.
Don’t really know where to go from here? I’m not entirely sure I’m interested in exploring the world of glitches. It would be nice to be able to creatively make and control them but I have had problems with being able to do that. Though, I do think it would be fun to play around with video glitching; changing frame rates and compression rates and such. I did really like the artistry of the glitching in Evident Utensils (2009) by Chairlift. I’m just not sure that the world of glitching and datamoshing aids the revenue I want to go down of representing human feelings in online spaces.
👾⭐️👾
🎀Physical Glitch ???????? Physical Pixel?????🎀
Bibliography
Cameron A (2017) ‘Facing the Glitch: Abstraction, Abjection and the Digital Image’, in Indefinite Visions Cinema and the Attractions of Uncertainty, Edinburgh University Press, doi.org/10.1515/9781474407137.
Chairliftband (25 October 2009) ‘Chairlift – Evident Utensil (Video)’, Chairliftband, YouTube website, accessed 21 August 2024. https://youtu.be/mvqakws0CeU?si=SuS8oRzF4EJsnYCa
PhotoMosh (2024) PhotoMosh Web, PhotoMosh website, accessed 21 August 2024. https://photomosh.com/app/
Experiment Four – WHAT HAPPENS TO ME ON THE INTERNET? (Week Four)
Reflection
My first thought in producing a work with dialogue was to edit together screen recording clips of voice prompts on Hinge profiles. My initial idea of placing these voice recordings in relation to each other, to simulate a conversation between the men, didn’t pan out. I found it difficult to find voice prompts in the first place, let alone ones that would be harmonious in an edited conversation. So, I adapted my approach to have the dialogue to be less literal and more symbolic, between the audio of the men’s voice prompts and videos, mostly ones that I have taken and majoritively of women. The dialogue that I was trying to portray is up for interpretation, but I would say that the feeling it produces for me personally, is a commentary on how these men are trying to portray a part of themselves that will entertain the person viewing their profile and yet they are not garnering any response or attention from the people within the videos. For example, the voice prompt of a man humming a tune is lined up with a car crash on repetition; you can see my visual interpretation of the audio. The conversation that the men planned on initiating (flirting or what have you) is not the conversation that is taking place. I do not mean to mock these men, it’s more a comment on intent vs outcome; the men want the conversation to be between them and another person on Hinge, and yet the conversation is happening between my interpretation of their audio and women’s perceptions (girls being girls) But also it’s happening between their descriptions of themselves that I am relaying (and obscuring) to ChatGPT.
I feel that this aligns with Gronlunds (2014) concept that dialogic art is “trying to make [an] image of the internet” making visible “various invisible processes of communication.” (p. 13). That is to say that I am trying to make visible the experience that women have when they view mens Hinge profiles, individually or as a group activity, highlighting the notional nature of online opinions, especially on dating apps; “communication on the internet is both poly-vocal (multiple voices) and notional. ” (Gronlund, 2014, p. 8). I also just think it’s funny to play unrelated videos over the men’s prompts, changing their meaning or blocking them out entirely. I honestly learnt through this making that it is hard to place visuals to feelings, even though I didn’t put that much effort into this weeks experiment, it’s still hard to conceptualise what a feeling you experience would LOOK like.
I think the intent in my making and concept behind it was there, and strong maybe, but I don’t necessarily think it’s clear at conveying this message (especially without the reflection). I tried to go against my desire to make a “perfect” experiment and have left it be in it’s ambiguity, that being whether it missed the mark or not. I would love to further my exploration in realising online dialogues through a longer piece and filming new footage to represent it better. Given the time, I would like to leave behind using other peoples content and just take the time to shoot or scavenge my camera roll for the clips.
I said at the start of the studio that I wanted to create media that felt human, and I think going down the route of dialogic art would be such an aligned way to represent those feelings. Because being human is all about having conversations and making connections.
Bibliography
Emswats (12 May 2024) ‘mayhaps the most random edit ive ever made #dancemoms #fyp’ [TikTok], Emswats, accessed 12 August 2024. https://www.tiktok.com/@emswats/video/7367857534192897312is_from_webapp=1&sender_device=pc&web_id=7201716469485438466
Gronlund M (2014) ‘From Narcissism to the Dialogic: Identity in Art after the Internet’, Afterall: A Journal of Art, Context and Enquiry, (37):4-13, https://doi.org/10.1086/679372
OpenAI (2024) ChatGPT (GPT-4.0 version) [Large language model], accessed 18 August 2024. https://chat.openai.com/share/81f2e81f-f137-41b6-9881-39af1672ae3c