Looking at data is an ongoing series of software experiments to investigate non-conventional approaches of working with data.
Films as rhythms of colours
Images of films are subtracted at a set time frequency. Each of these images is divided into segments. The average colour of each segment is calculated. These colours are then visualised as a pattern of vertical lines either in accordance with the chronological progression of the film or according to different colour values.

Bronenossez Potjomkin (Panzerkreuzer Potemkin), Sergei Eisenstein 1925

Sympathy for the Devil,  Jean-Luc Godard 1968

Sympathy for the Devil,  Jean-Luc Godard 1968 (sorted from light to dark)

Urth, Ben Rivers 2016

The colours of war (two frontlines)
The colours of hundreds of images of the horrific Russian invasion of Ukraine where gathered from online news and social media. These images where divided into two groups, each representing another kind of frontline: 1) The battlefield, 2) The political front (meetings of politicians, press conferences). Afterwards the colours of these two groups of images where subtracted and ordered to different criteria.

Colours ordered by hue (top: battlefield, bottom: political front)

Colours ordered from light to dark (top: battlefield, bottom: political front)

Sound data-portraits of places
Sound data of a geographic location measured over a set period of time is mapped around a circle. Over time a specific sound pattern – a ‘data portrait’ –for each place emerges. 

Time lapse animation:
30 Minutes of data from four different places compressed to 30 seconds

Deforming the grid
The regular grid is an emblem for order and a structure with no center. It further constitutes a structure of connected lines.
A grid is deformed by environmental data. The intensity and frequency of the data becomes visible.
Images from the debris
Images from the ever faster cycle of our image consumption in media such as newspapers, fashion magazines and so forth are removed from their context and composed into arrays of images.
Acting upon the smallest unit of each of these images – the pixel – they are recomposed into new images by using different types of randomness.
The flag files (new geographies)
An algorithm subtracts the colours of a data set containing all the images of the national flags of the world. The resulting colour array is then combined with algorithms usually used to create artificial landscapes in films or computer games and with algorithms used to visualise physical forces such as weather or wind.

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