Jasmine Guffond brings data streams to the Sound. The Australian sound artist performs in Berlin with a Work on the subject of copyright.
Jasmine Guffond with a grid for face recognition on the face photo: Promo
Who wants to know how his own face sounds, should contact Jasmine Guffond: The Australian sound artist and composer, knows. In the framework of its “Sound Studies”-studies at the University of the arts, should come up with Guffond with their fellow students five years ago, a sound walk around the German Opera, a Soundwalk so that opens up a place about sound and noise. The theme of the Protest was “”.
“at the time I read that directly after the Occupy wall street demonstrations in New York, many surveillance cameras have been installed, the work with facial recognition,” says Guffond. “That’s why I wanted to explore the contemporary meaning of technology and Monitoring for the culture of protest.”
In exchange for headphones for the sound walk, you let the participants of the Tour their ID cards to hand. While the walkers were on the road, scanned Guffond the photos on the card, translated the read data by using a Freeware in a one minute piano piece, burned it to a CD and presented it to the participants at the end of the Walk: a piece of art based on personal data. If you can’t already see how facial recognition technology works, you can hear it at least.
Guffond occurs now at the Festival “the Right to the Right” in the house of world cultures in Berlin, which deals with the issue of copyright. In the course of her career, she has already tried many kinds of electronic music: In her hometown of Sydney she founded the Elektronikduo Minit.
in 2003, she moved to Berlin and published under the Pseudonym Jasmina Maschina-spun Electronica between Freak Folk and sound experiment, among other things, to Gudrun Guts Label Monika Enterprise. She worked as a sound designer in the film industry and composed in this year, the Sounds for the biennial contribution of the Taiwanese artist Shu Lea Cheang.
Festival “Right the Right”. 21. – 24. In November, the house of world cultures in Berlin. With Holly Herndon, Hermeto Pascoal, Jan St. Werner, Chicks On Speed, etc., The Lecture Performance by Jasmine Guffond 19 PM on Sunday.
Since your Experiment with the identity card is interested in Guffond for data and data streams Pashacasino of sound to present – about the function of Cookies, the mini-text files with information that can help a web server, a visitor of his page and save the settings.
to give Internet users a sense of how your Web will be tracked through the use of Cookies, has Guffond programmed an extension for the Chrome Browser: The Tool is “Listening Back” transferred to Online “Cookies” in the Sound while surfing on the net – in real-time. Whenever a Cookie is written, overwritten or deleted, you will hear synth sounds. “Our interaction with the World Wide Web is strongly communicated visually,” says Guffond. “We look all the time on a screen, but do not know exactly, how about Cookies to work. What interests me is to create an audible presence for hidden Tracking technologies.“
Guffond want to disclose what is happening in the network invisible, even in your post to “Right the Right”-Festival. Instead, she deals with a System called Content ID: a tool for copyright owners to be able to content on YouTube, check it out. Videos uploaded to YouTube are synchronized by the System with a Copyright database. The algorithm determines that a copyright violation has occurred, is stopped, the user, to remove his Video. If you will, is the System a @ YouTube’s own upload filter.
The Problem is: Sometimes things go horribly wrong. “The algorithm is not able to detect about a Remix,” says Guffond and brings another example, As the British Pianist James Rhodes a Video of yourself published, in which he played a piece by Bach, left lock Label Sony, his record even though Bach is since 269 years dead, and his work is copyright exempt. “If a major Label owns the rights to a recording of the music piece, the Content-ID System false Alarm,” says Guffond.
For Algorithms, errors of this kind, it has created an archive that is open for the visitors of the festival in a mixture of lecture and Performance. “I find it questionable to make so many decisions by Algorithms dependent,” she says.
Basically, the idea of copyright law was a good one: “If someone used my music in a movie, and me paid for it, the course is great. But in its current Form, the legislation on copyright, culture, and society harms.“ And sometimes it leads to absurdities also simple: So it can happen, told Guffond, that an algorithm wants to realize in day-to-day Sounds is a Copyright violation – for example, in birdsong.
