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How can we interpret ‘DATA’ in a way in which it might take on new forms and represent something other than statistics? The concept of ‘DATA’ as an art medium is one that grows in relevance each year, and as the popularity of digital art forms and techniques grow in tandem, it only makes sense to discuss the next steps.

With multiple artists involved in Frequency Festival incorporating digital engagement in their practice, it feels more appropriate than ever to unpick the potential of using human interaction to generate and maintain digital artworks and divulge the nature of ‘DATA’.

When we see an artwork, hear, smell, feel an artwork, our actions and generated reactions can be interpreted as creative ‘DATA’, meaning that developments in viewing and practicing art can be quantified, recorded and expanded upon. Ultimately making the public as equally responsible for the artwork as its original architect, humanising it, and adding a warm tactility to something known by most as a lifeless statistic.

Now in a truly digitised age, how can we re-interpret the virtual world in order to develop and enrich our understanding of the physical and the natural?

Bryn Williams and Frequency co-Director Barry Hale explore the possible methodologies of public ‘DATA’ re-exposition with award-winning ‘Slow GIF ‘ artist Rhiannon Armstrong, sonic choreographer and print maker Robin Williamson, Lincolnshire born interdisciplinary social artist Annabel McCourt and members of the general public.

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from Frequency Festival 2019: Café Conversations, released October 29, 2019

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Occupied Silence Northampton, UK

Threshold Studios' Occupied Silence project presents work by artists drawn to the sculptural and psychological properties of sound.

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