{"id":672,"date":"2024-08-23T13:00:06","date_gmt":"2024-08-23T13:00:06","guid":{"rendered":"https:\/\/blogg.sh.se\/artspace\/?page_id=672"},"modified":"2024-08-27T12:08:34","modified_gmt":"2024-08-27T12:08:34","slug":"verena-friedrich-erbsenzahler-kvalitetssorterare-v2","status":"publish","type":"page","link":"https:\/\/blogg.sh.se\/artspace\/verena-friedrich-erbsenzahler-kvalitetssorterare-v2\/","title":{"rendered":"Verena Friedrich.\u00a0 ERBSENZ\u00c4HLER Kvalitetssorterare V2."},"content":{"rendered":"\n

5 september \u2013 4 oktober 2024.<\/h2>\n\n\n\n
\"Verena
Verena Friedrich. Foto: Camilo Pacho\u0301n – Stiftung Ku\u0308nstlerdorf Archive<\/figcaption><\/figure>\n\n\n\n

Vem \u00e4r det egentligen som best\u00e4mmer vad som \u00e4r bra och d\u00e5ligt? Och vad h\u00e4nder n\u00e4r komplexa beslutsprocesser i allt h\u00f6gre grad automatiseras och delegeras till \u201dintelligenta\u201d system? <\/p>\n\n\n\n

(English text follows below.)<\/p>\n\n\n\n

N\u00e4r bes\u00f6karna kommer in i utst\u00e4llningslokalen m\u00f6ts de av en sorteringsanl\u00e4ggning i industriell stil. Med hj\u00e4lp av en matningsmekanism och ett transportband separerar, analyserar och sorterar EZ Quality Sorter V2 automatiskt \u00e4rtfr\u00f6n i bra och d\u00e5lig kvalitet. Om en \u00e4rta kategoriseras som \u201dd\u00e5lig\u201d skickas den till kassationsfacket. Om den kategoriseras som \u201dbra\u201d hamnar den s\u00e5 sm\u00e5ningom i containern f\u00f6r vidare bearbetning.\u00a0<\/p>\n\n\n\n

\"\"
Verena Friedrich. Erbsenz\u00e4hler.<\/figcaption><\/figure>\n\n\n\n

Bes\u00f6kare som n\u00e4rmar sig arbetsstationen uppmanas att s\u00e4tta sig ner och visuellt inspektera \u00e4rtorna en efter en med hj\u00e4lp av en optisk anordning. De ombeds g\u00f6ra sitt val genom att trycka p\u00e5 antingen en gr\u00f6n eller en r\u00f6d knapp. Vid varje knapptryckning tar maskinen en n\u00e4rbild av respektive \u00e4rta och l\u00e4gger till den i en bilddatabas, beroende p\u00e5 vad anv\u00e4ndaren har valt. N\u00e4r anv\u00e4ndaren l\u00e4mnar stationen forts\u00e4tter maskinen automatiskt sorteringsprocessen baserat p\u00e5 de tidigare inmatningarna fr\u00e5n anv\u00e4ndaren.\u00a0<\/p>\n\n\n\n

\"\"
Verena Friedrich. Erbsenz\u00e4hler.<\/figcaption><\/figure>\n\n\n\n

Dagens \u201dintelligenta\u201d system bygger ofta p\u00e5 osynligt m\u00e4nskligt arbete och subjektiva beslutsprocesser som har kristalliserats till h\u00e5rda fakta genom formalisering och automatisering. N\u00e4r maskinen ser ut att vara autonom antar man l\u00e4tt att dess beslut \u00e4r neutrala, objektiva och opartiska. Men n\u00e4r man sj\u00e4lv blir beslutsfattare hamnar man snabbt p\u00e5 skakig mark. Att klassificera en komplex v\u00e4rld och reducera den till f\u00f6rutbest\u00e4mda bin\u00e4ra begrepp visar sig vara en vag, oroande och till och med v\u00e5ldsam str\u00e4van.<\/p>\n\n\n\n

EZ Quality Sorter V2 \u00e4r en del av projektet ERBSENZ\u00c4HLER (Sv: b\u00f6nr\u00e4knare; lit.: \u00e4rtr\u00e4knare) som utforskar den \u00f6kande kvantifieringen av livet genom matematisk-tekniska procedurer och system – fr\u00e5n r\u00e4kning och sortering till statistik, till datorst\u00f6dda processer – och den v\u00e4rldsbild som f\u00f6ljer med det.<\/p>\n\n\n\n

Verena Friedrich<\/strong> \u00e4r konstn\u00e4r och bitr\u00e4dande professor vid Academy of Media Arts i K\u00f6ln, Tyskland. Hennes tidsbaserade installationer blandar organiska, elektroniska och skulpturala medier och utforskar m\u00f6jligheterna och gr\u00e4nserna f\u00f6r teknisk intervention och kontroll. Hennes verk har visats i utst\u00e4llningar, p\u00e5 festivaler f\u00f6r mediekonst och p\u00e5 konferenser runt om i v\u00e4rlden. Hon har f\u00e5tt flera priser och stipendier, bland annat ett arbetsstipendium fr\u00e5n Kunstfonds Foundation och International Media Award for Science and Art fr\u00e5n ZKM Karlsruhe. Hennes projekt EZ Quality Sorter V2<\/em> har f\u00e5tt ett hedersomn\u00e4mnande i kategorin \u201dArtificial Intelligence & Life Art\u201d vid Prix Ars Electronica Linz 2023 och har tidigare presenterats vid Matsudo Art Science Festival \u201dSeeds of Hope\u201d i Japan.<\/p>\n\n\n\n

Utst\u00e4llningen \u201dVerena Friedrich. ERBSENZ\u00c4HLER Kvalitetssorterare V2\u201d produceras av Art Space S\u00f6dert\u00f6rn i samarbete med forskningsprojekten The Digital Welfare State<\/a> och Automating Welfare<\/a>, som leds av professor Anne Kaun. <\/p>\n\n\n\n

\u00a0\u201cThe good ones go into the pot, the bad ones go into your crop.\u201d That\u2019s how the story goes in Cinderella. But who actually decides what\u2019s good and bad? And what happens when complex decision-making processes are increasingly automated and delegated to \u201cintelligent\u201d systems?<\/p>\n\n\n\n

Upon entering the exhibition space, visitors encounter an industrial-looking sorting plant. Using a feeding mechanism and a conveyor belt, the EZ Quality Sorter V2 automatically separates, analyzes, and sorts pea seeds into good and poor quality. If a pea is categorized as \u201cbad,\u201d it is sent to the reject bin. If it is categorized as \u201cgood,\u201d it eventually enters the container for further processing.<\/p>\n\n\n\n

Visitors that approach the workstation are invited to take a seat and visually inspect the peas one by one through an optical device. They are asked to enter their selection by pressing either a green or red button. With each button press, the machinery takes a close-up picture of the respective pea and, according to the user\u2019s selection, adds it to an image database. Once the user leaves the station, the machine automatically continues the sorting process based on the previous user inputs.<\/p>\n\n\n\n

Today’s \u201cintelligent\u201d systems often run on invisible human labor and subjective decision-making processes that have been crystallized into hard facts through formalization and automation. When the machine appears autonomous, one easily assumes that its decisions are neutral, objective, and rational. However, when one becomes the decision maker, one quickly finds oneself on shaky ground. Classifying a complex world and reducing it to pre-given binaries turns out to be a vague, troubling, and even violent endeavor.<\/p>\n\n\n\n

The EZ Quality Sorter V2 is part of the ERBSENZ\u00c4HLER (EN: bean counter; lit.: pea counter) project which explores the increasing quantification of life through mathematical-technical procedures and
systems\u2014 from counting and sorting to statistics, to computer-aided processes\u2014and the worldview that goes along with it.<\/p>\n\n\n\n

Verena Friedrich<\/strong> is an artist and assistant professor at the Academy of Media Arts Cologne, Germany. Her time-based installations blend organic, electronic, and sculptural media, and explore the possibilities and limits of technological intervention and control. Her works have been featured in exhibitions, media art festivals, and conferences around the world. She has received several awards and grants, including a work stipend from Kunstfonds Foundation, and the International Media Award for Science and Art from ZKM Karlsruhe. Her project EZ Quality Sorter V2 has received an honorary mention in the category \u201cArtificial Intelligence & Life Art\u201d at the 2023 Prix Ars Electronica Linz and was previously presented at the Matsudo Art Science Festival \u201cSeeds of Hope\u201d in Japan.<\/p>\n\n\n\n

The Exhibition \u201cVerena Friedrich. ERBSENZ\u00c4HLER Kvalitetssorterare V2\u201d is produced by Art Space S\u00f6dert\u00f6rn in cooperation with the research projects The Digital Welfare State and Automating Welfare, managed by Prof. Anne Kaun.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

5 september \u2013 4 oktober 2024. Vem \u00e4r det egentligen som best\u00e4mmer vad som \u00e4r bra och d\u00e5ligt? Och vad h\u00e4nder n\u00e4r komplexa beslutsprocesser i allt h\u00f6gre grad automatiseras och […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-672","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/672","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/comments?post=672"}],"version-history":[{"count":10,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/672\/revisions"}],"predecessor-version":[{"id":688,"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/pages\/672\/revisions\/688"}],"wp:attachment":[{"href":"https:\/\/blogg.sh.se\/artspace\/wp-json\/wp\/v2\/media?parent=672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}