Data / Set / Match

Data / Set / Match is a year-long programme at The Photographers' Gallery seeking new ways to present, visualise and interrogate contemporary image datasets. The essays in this theme draw attention to, and explore, the uses, influence and politics around image datasets and contemporary visual culture.

November 2019

An Introduction to Image Datasets

In 2019 The Photographers' Gallery digital programme launched 'Data / Set / Match', a year-long programme that explores new ways to present, visualise and interrogate contemporary image datasets. This introductory essay presents some key concepts and questions that make the computer vision dataset an object of concern for artists, photographers, thinkers and photographic institutions.

November 2019

Where Did ImageNet Come From?

In September 2019 the ImageNet creator Fei-Fei Li gave a talk at The Photographers' Gallery talking through the events and key people that led to the creation of visual datasets.

November 2019

I’m looking at you, looking at me

In Heather Dewey-Hargborg’s artwork ‘How do you see me?’, commissioned for the Data/Set/Match programme at The Photographers’ Gallery, the artist explores how machines see us. A question that has been carefully slipping through several areas of production and research during the past couple of decades. At the same time an essential need has also emerged to understand the processes and internal mechanisms that are usually hidden from or mysterious to the user: commenting on those who code, train, build these mechanisms and how this translates into what happens outside of the screen.

November 2019

From Spectacle to Extraction. And All Over Again.

I met with Kate Crawford and Trevor Paglen on the press preview of their exhibition Training Humans in Milan at Osservatorio Prada. It was the morning of September 11th –not a neutral day to unthink photography and the power operations of vast populations of images. On the contrary, it was the most apt one to seriously consider Crawford and Paglen’s proposition that "images are no longer spectacle but they are in fact looking back at us, being actors in a process of massive value extraction".