The Information Artist
Artist Heather Dewey-Hagborg questions how DNA might be used against us.
(from artist's website)
About Heather Dewey-Hagborg
Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.
Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired.
Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a Visiting Assistant Professor of Bio-Design at Parsons, the New School, an artist fellow at AI Now, and an affiliate of Data & Society.
She is also a co-founder and co-curator of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.
Connect with Heather Dewey-Hagborg
Much of Heather Dewey-Hagborg’s work is grounded in DNA—how it's analyzed, what it can and cannot predict, and how it might someday be used against you. Her most celebrated work to date, Stranger Visions, is a collection of 3D-printed faces, created using anonymous DNA that she gathered in public places around New York City.
Heather Dewey-Hagborg: Your data can always tell so many different stories about you that could be dug into, re-construed, and interpreted to really tell what anyone wants to tell about you—saying “you're European,” versus “you’re middle-Eastern,” versus “you're a Northeast African.” I mean, we're talking about very tiny differences in probabilities or, sort of, the predictive capacity of any of these things. The whole idea is that you could walk up to this face and be confronted, face to face, with the possibility that your DNA could be used in this way—that someone could pick it up and learn all these things about you, construe all of these things about you in whatever way they chose to. And so I'm hoping that, by using art in this way, it makes it visceral, so you can really feel that vulnerability.
Dewey-Hagborg first awakened to that vulnerability as a master’s student. Her thesis project, Spurious, documented a computer dreaming of faces. The research exposed her to cutting edge facial recognition technology and some disturbing realities.
Dewey-Hagborg: Through kind of digging into these algorithms, and coding them myself, and playing around with them, and seeing what they were good at, and also seeing how they failed— and mostly, how they were not as good as they claim to be or aspire to be—I really began thinking about what it meant for these things to be enacted upon people. What it meant for these to be categorizing people, and looking at people, and providing actionable information about people.
AJC: Right. But we have a presumption of innocence in most freethinking societies.
Dewey-Hagborg: I think that depends on a lot of factors. I mean, some people are privileged enough to get afforded that presumption of innocence, but, depending on who you are, and where you're from, and the color of your skin, you might not be getting such a presumption.
AJC: If we're going to be cynical about this we're talking about somebody making money out of us.
AJC: And that's the big objection.
Dewey-Hagborg: I mean…
AJC: It's certainly one of the big objections.
Dewey-Hagborg: It's certainly one of them, these companies making all this money off of us. If it's just us selling our individual data, we're not gonna make much money off of it. Again, it's not worth that much on it's own. But are we okay with these companies or institutions profiting off of us without our permission?
But even though our information isn't valuable to big companies on its own, we are still in danger of being singled out.
Dewey-Hagborg: It has been shown time and time again that you can quite easily re-identify people that have been supposedly anonymized within these studies. So, thinking about medical data, thinking about genomic data, thinking that really any data that’s supposedly been de-identified, with just a few clues, you can usually re-identify people.
And this threat on losing anonymity is the premise of Heather Dewey-Hagborg's latest venture, what she describes as a post-genomic love story.
Dewey-Hagborg: T3511 is the mostly true story of a bio-hacker's increasing obsession with an anonymous saliva donor, whose sample they purchased online. And so it follows this story of buying this sample online, profiling it—a la Stranger Visions, in the beginning. So kind of digging into the DNA, but then also culturing this cells, and discovering more and more about this person. And then, in a kind of turnaround, through using direct consumer services like 23andMe, being contacted by that very person.
AJC: Are these your stories, or are they stories you gathered? Or…
Dewey-Hagborg: I mean, it's drawn on sort of, mostly my own true story, with a bit of speculation in the mix. I mean, that's generally the way I like to work, is to kind of take the real, and then just push it a little bit to the speculative edge.
And it is from this vantage point—the speculative edge—that Heather Dewey-Hagborg will continue to explore and to create.