Large language models like those offered by OpenAI and Google famously require vast troves of training data to work. The latest versions of these models have already scoured much of the existing internet which has led some to fear there may not be enough new data left to train future iterations.

For my latest Furtherfield review I wallowed in curator Shiri Shalmy’s ongoing project Data as Culture, examining works by Paolo Cirio and James Bridle that deal explicitly with the concatenation of data. What happens when society is governed by a regime of data about data, increasingly divorced from the symbolic? In a work commissioned by curator Shiri Shalmy for her ongoing project Data as Culture, artist Paolo Cirio confronts the prerequisites of art in the era of the user. Your Fingerprints on the Artwork are the Artwork Itself [YFOTAATAI] hijacks loopholes, glitches and security flaws in the infrastructure of the world wide web in order to render every passive website user as pure material. In an essay published on a backdrop of recombined RAW tracking data, Cirio states: Data is the raw material of a new industrial, cultural and artistic revolution. It is a powerful substance, yet when displayed as a raw stream of digital material, represented and organised for computational interpretation only, it is mostly inaccessible and incomprehensible. In fact, there isn’t any meaning or value in data per se. It is human activity that gives sense to it. It can be useful, aesthetic or informative, yet it will always be subject to our perception, interpretation and use. It is the duty of the contemporary artist to explore what it really looks like and how it can be altered beyond the common conception. Even the nondescript use patterns of the Data as Culture website can be figured as an artwork, Cirio seems to be saying, but the art of the work requires an engagement that contradicts the passivity of a mere ‘user’. YFOTAATAI is a perfect accompaniment to Shiri Shalmy’s curatorial project, generating questions around security, value and production before any link has been clicked or artwork entertained. Feeling particularly receptive I click on James Bridle’s artwork/website  A Quiet Disposition and ponder on the first hyperlink that surfaces: the link reads “Keanu Reeves“: “Keanu Reeves” is the name of a person known to the system.  Keanu Reeves has been encountered once by the system and is closely associated with Toronto, Enter The Dragon, The Matrix, Surfer and Spacey Dentist.  In 1999 viewers were offered a visual metaphor of ‘The Matrix’: a stream of flickering green signifiers ebbing, like some half-living fungus of binary digits, beneath our apparently solid, Technicolor world. James Bridle‘s expansive work A Quiet Disposition [AQD] could be considered as an antidote to this millennial cliché, founded on the principle that we are in fact ruled by a third, much more slippery, realm of information superior to both the Technicolor and the digital fungus. Our socio-political, geo-economic, rubber bullet, blood and guts world, as Bridle envisages it, relies on data about data. Read the rest of this review at Furtherfield.org

In the work Once upon a Time (2004) McQueen presents a slide show of 116 of these images installed to make them seem to float in space: about two-thirds of the way to the back of a very dark room a large screen is suspended from the ceiling, but without touching the floor. The projector is behind the screen and is set to show each slide for around half a minute before dissolving it into the next. The cycle of images lasts 70 minutes and the installation includes sound.

This is a zombie edition, one of many I found for early modern texts on Amazon. Produced as cheap print-on-demand editions from EEBO or GoogleBook scans, they're listed alongside reputable scholarly print editions published by university presses, indistinguishable at first glance except for a few glaring markers. Like a mismatched cover image --

-- or excessively expressive titles:

Closer examination reveals their undead status. In the case of English Reprints Jhon Milton Areopagitica, the publisher is the aptly-named BiblioLife, a project of BiblioLabs, which designs software "to address the challenges of cost-effectively bringing old books back to life." (BiblioLabs takes the "brining things back to life" shtick pretty seriously. Their website proudly boasts that their company is located in a "Renewal Community" -- a distressed urban zone where businesses are eligible for billions in tax incentives.)

some text, an image: every day

Hear that crocus? A ripe alcove chock full of crooked Theremins. Inside is a Jekyll, your personal rejoinder to alkali: the bright and beautiful mother of a brutal shade. Because this breakthrough is not malignant the resultant effervescence is only 18% frenetic. It is a real live sports car. It is a thoroughly enjoyable smoke. It will keep bottle-fed babies strong and virile.

There’s a heaping crust of manganese here - enough for one or two backbones of amaranth. And as it ogles onwards a fuller sense of violence precipitates. Is it alive? Perhaps a thousand butchers suggest so. There is no need to snuff it when you’ve got sheer energy. Translucent yet lively too, in Nude, Herring, Vertical, Possom: they’re utter soft.

This antique panache does little for your décor. You deserve some make time - and live it! If you really want a young-minded experience, look at a tree, particularly in the evening. But don't do it for long - it's double-rich!

Brains or chrysalid? - but why choose? Combine turgid with cynicism - that's what the thousand girls do. By removing pore accumulation your wrinkles do it for the face. Features, more, now, what? It's a cream above the lavender spectacle. Obtain a cake today.

You wouldn't spoil that stain with satin, would you? Just rinse and pat dry. Just dot it on.

More stronger than powerful. Perhaps.

Or like it breath-taking fresh? Wouldn't you look pretty strange to me? The perfect woollen primate?

You feel a viscous film. Do not use. That film is clinging. Don't even think it.

Your body responds. The results are up to 60% - the chief cause of pyorrhea.

Thus, in a simply manner, millions.

Imagine a cube-shaped building, with ten cube-shaped rooms along each side (10 rooms long, 10 high & 10 deep). Each cubular room has 4 walls, 1 ceiling and 1 floor. Each of the 6 interior surfaces in all 1000 cubular rooms is decorated with a different pi