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The screen is divided into three sections which counterpoint each other. The top section consists of a video made by Hazel Smith comprising twelve short texts. The middle section consists of the same material processed in the program Jitter by Roger Dean, and involves various forms of overlaying, erasing and stretching of the words. In a third section of the screen the same texts together with others which do not appear in the top movie are processed in real-time by Roger Dean by means of a Text Transformation Toolkit (TTT) written in Python. The processing substitutes words and letters so that new text emerges, together with a spoken realization of some parts of the text, new and old. The pre-written fragments circle around the idea of social, historical, and psychological instabilities, but during the processing new instabilities syntactical, semantic, and phonemic also arise. In addition, computer-synthesised voices add an aural dimension to textual change.<br /><a href=\"http://www.drunkenboat.com/db12/06des/smith/statement.php\">Excerpt from Drunken Boat, an online journal of art and literature. Issue No.12</a>"]]]],["element",{"elementId":"44"},["name","Language"],["description","A language of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2455"},["text","English"]]]],["element",{"elementId":"47"},["name","Rights"],["description","Information about rights held in and over the resource"],["elementTextContainer",["elementText",{"elementTextId":"3663"},["text","Copyright Hazel Smith, Roger Dean, Greg White Sandy Evans and Phil Slater. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. 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What is the future of the novel  that most personal and intimate of artforms  as private lives are increasingly turned into public data? DataFiction v0.1 is part of a major new collaboration between myself and artist Andrew Burrell that aims to create a real-time, data-driven novel. These excerpts of generative, network-sourced prose were presented as early work-in-progress, with the aim of inciting audience interest and critical feedback."]]]],["element",{"elementId":"98"},["name","Source of Artist Statement"],["description","The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible."],["elementTextContainer",["elementText",{"elementTextId":"2023"},["text","<a href=\"http://chrisrodley.com/2013/10/10/datafiction-v0-1/\">Description from author's website</a>"]]]],["element",{"elementId":"96"},["name","Genre"],["description"],["elementTextContainer",["elementText",{"elementTextId":"3069"},["text","Networked new media installation"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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However, artist Andrew Burrell and writer Chris Rodley aim to change all that by creating the world's first data-driven novel. With the tremendous growth of social media, the internet has become an ever-expanding repository of stories created by individuals sharing their personal milestones and tragedies online. Ninety percent of the world's data has been created in the last two years and dataFiction v0.1 aims to mine this vast resource in order to discover how people tell their stories in real life. Chris Rodley tells me that if you search a fairly standard phrase, such as 'You have beautiful eyes,' you hit on some rather surprising, yet common combinations. For example, 'You have beautiful eyes and a moustache,' which is not something that you would expect to read in a novel. The challenge for dataFiction v0.1 is to curate these snippets of stories into a novel-length narrative. I can't wait to see what they come up with. In the meantime, it was compelling enough to watch those partial narratives flash across the screen.<br /><a href=\"http://visual.artshub.com.au/news-article/news/visual-arts/top-5-artworks-from-electro-nerds-196910\">Anne Phillips, blog Visual Arts Hub</a>"]],["elementText",{"elementTextId":"3521"},["text","<strong>Artist Statement</strong><br />We live in an age of big data, when much of what we say and do is captured and stored in vast, searchable databases. What is the future of the novel that most personal and intimate of artforms as private lives are increasingly turned into public data? DataFiction v0.1 is part of a major new collaboration between myself and artist Andrew Burrell that aims to create a real-time, data-driven novel. These excerpts of generative, network-sourced prose were presented as early work-in-progress, with the aim of inciting audience interest and critical feedback.<br /><a href=\"http://chrisrodley.com/2013/10/10/datafiction-v0-1/\">Source of Artist Statement</a>"]]]],["element",{"elementId":"44"},["name","Language"],["description","A language of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2024"},["text","English"]]]],["element",{"elementId":"47"},["name","Rights"],["description","Information about rights held in and over the resource"],["elementTextContainer",["elementText",{"elementTextId":"3642"},["text","Copyright Chris Rodley and Andrew Burrell. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. 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Utilising Twitter and a series of algorithms, questions tweeted to a particular hashtag (#enquiresydney) evoke responses from the social media 'hive mind.' While it might take a day for you to personally receive a response to your own tweet, the answer I got back was pretty much on the money. What astounds me is that, as the work is being demo-ed, one of the mothers from the school band event comes over to request that Enquire Within Upon Everybody is no longer displayed on the oversized urban screen. Apparently, some of the text isn't appropriate for a school-age audience. Although, from what I've seen, the most contentious of tweets have been questions about marriage and gender, addressed to Jesus, or about dreams of Julian Assange. <a href=\"https://isea2013-in-realtime.net/2013/06/26/the-big-connect/\">Description from the blog ISEA2013, RealTime </a>"]],["elementText",{"elementTextId":"3522"},["text","<strong>Artist Statement</strong><br />It's a real-time question and answer session which gives audiences the chance to query the Internet collective consciousness on any subject and receive real-time, generative responses. To make it work from a technical point of view, we've needed to define a series of complex (and sometimes simple) algorithms that query online data streams in order to return relevant answers without any intervention from us. Currently we're focused on testing the app that drives the artwork by priming it with questions (if you tweet a question now with the hashtag #enquire Sydney or #enquire Darwin it will be added to the list). 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