About

Caroline Sinders

Caroline Sinders is a critical designer and artist. For the past few years, she has been examining the intersections of artificial intelligence, abuse, and politics in digital conversational spaces. 

She has worked with the United Nations, Amnesty International, IBM Watson, the Wikimedia Foundation and others. Sinders has held fellowships with the Harvard Kennedy School, Google's PAIR (People and Artificial Intelligence Research group), the Mozilla Foundation, the Weizenbaum Institute Pioneer Works, Eyebeam, Ars Electronica, the Yerba Buena Center for the Arts, the Sci Art Resonances program with the European Commission, and the International Center of Photography. 

Some of her research fellowships and funded research work has focused on dark patterns, community health, online harassment, AI inequity, and the labor and systems in AI and platforms.Currently, she is a fellow with Ars Electronica AI Lab with the Edinburgh Futures Institute.  Her work has been featured in the Tate Exchange in Tate Modern, Victoria and Albert Museum, MoMA PS1, LABoral, Wired, Slate, Quartz, the Channels Festival and others. Sinders holds a Masters from New York University's Interactive Telecommunications Program.

Conference

Feminist Data Set

What is feminist data inside of social networks, algorithms, and big data? How can we queer data, the archive, and the internet? How can a data set act as a form of protest, of a creation of bias mitigation? This talk looks at ways of intervention, from art, design, and technology that combat and challenge bias. How can we create data to be an act of protest against algorithms? Part of this talk will focus on Caroline's research and current art project, Feminist Data Set.

Feminist Data Set acts as a means to combat bias and introduce the possibility of data collection as a feminist practice, aiming to produce a slice of data to intervene in larger civic and private networks. Exploring its potential to disrupt larger systems by generating new forms of agency, her work asks: can data collection itself function as an artwork?