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PRIVACY POLICY

 

 

  1. Introduction

 

  • We, DATEAGLE ART (with ‘we‘, ‘our‘ or ‘us‘ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.
  • This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 24th May 2018

 

 

  1. Our legal obligations regarding your Personal Data

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law‘).

 

 

  1. What Personal Data do we collect and use?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our artworks or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

  1. How your Personal Data is collected

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

  1. Information about third parties

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

  1. How and why we use your Personal Data

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at studio@dateagle.art;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

  1. Disclosing your Personal Data to third parties

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

  1. Cookies and similar technologies

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

  1. How long we retain your Personal Data for

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

  1. Security that we use to protect Personal Data

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

  1. Your personal data rights

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

  1. Complaints

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

  1. Changes to this Privacy Policy

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

  1. Contact

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at studio@dateagle.art.

We picked five artists from”Terms and Conditions May Apply, Annka Kultys Gallery, London and asked them five questions about their work on view.

 

Terms and Conditions May Apply” at Annka Kultys Gallery, London, a group show curated by Bob Bicknell-Knight, to commemorate the launch of the fifth issue of his isthisit? book, includes sculptures, videos, simulations, drawings, paintings and prints from 15 national and international artists, that have made work to explore how and why our lives have become increasingly observed by and mediated upon by corporations and government bodies.

Could you explain this work?

“New Empire” is a computer simulation built with Unreal Engine. It’s essentially a self-playing game app, with variables programmed to interact at random and with no limit on its run time. So every time it plays, it generates a unique experience which could potentially run forever. The Freedom Tower is the central element while an endless array of planes fly near-misses toward the top of the tower. When a plane happens to actually hit the tower it bounces off harmlessly, diffusing the initial anxiety of the piece with a sort of comic-relief payoff.

What does this piece deal with? 

I moved to New York in the spring before the September 11th attacks, and I’ve always seen that event as sort of marking the official start to my adulthood. It’s informed much of my worldview. Walking around the city, I often look up at all of the tall buildings and I can envision the same thing happening again. Not that it’s traumatic for me, just a reminder that not really much has changed and that little was learned. Using the Freedom Tower specifically here is a direct comment on the hubris and false sense of immortality that are so linked to patriotism here in the states – the new tower was built in practically the same spot of the original towers (but taller! 1776 feet, so symbolic!). But more importantly, that era set many global forces in motion which bring us to our current national and global situation.

What medium and techniques did you use?

As mentioned above, the visuals are completely computer-generated. All of my work for the past 15 years or so has been made using various 3D modelling, and rendering software. The tower and the planes were modelled and textured using Blender 3D, and then imported to Unreal Engine to program the interactive elements. It’s meant to play on a large screen or projection, and for this show it will be the first time it’s presented on an over-size screen.

What were the struggles of making it?

The main struggle for me was making the leap into real-time motion visuals, and programming for the interactive elements. Most of my previous work has been rendered out of the 3D software as static images and shown as large-format prints. My background is originally in painting, and I still tend to think of composition and imagery in those terms. The “narrative” or time-based structure of animation feels relatively foreign to me. I have done other short animated pieces, but this was my first attempt at the added aspects of real-time generative elements and interaction.

What is the purpose behind this work?

Not sure about a “purpose”, but I guess I see the piece as a meditation on the absurdity of our current nationalistic moment. I say meditation, because I feel like the visuals actually produce a sort of detached, hypnotic effect after a while of watching. In an age of hyper-connectedness and information overload, that effect is unexpectedly calming (despite the nature of the visuals). The illusion of danger is countered by the illusion that nothing can harm us. In a broader sense, the more “connected” we are through technology, the less connected we are to reality. I think that contradiction is an important factor in all of my work.

Could you explain this work?

As I was looking for an answer online (to solve a very specific problem I have now forgotten), I ended up on finding myself on wikiHow.com – an online wiki-style community consisting of an extensive database of how-to guides. Founded in 2005 by internet entrepreneur Jack Herrick, the website aims to create the world’s most helpful how-to instructions to enable everyone in the world information on how to do anything. While crawling among the numerous tutorials, I started to fantasise about the idea of someone raised with internet as its mainly source of knowledge, and who could do almost anything from « how to tie your shoes » to « how to change a tire » – without needing any friend or family to teach him/her. But how would that person learn about abstract human feelings or skills such as caring or forgiving, only with tutorials? With its weird entries and its uncanny-valley deadpan illustrations, the whole wikiHow website sometimes look like a strangely cold parody of human knowledge. Imitating its rotoscoped aesthetics, How to (Learn Online) is a series of outsourced drawings illustrating verbs such as remember or forgive, becoming a visual guide for those who would need to empathise with those notions. As part of “How to (Learn Online)” series, “How to remember” depicts two women taking a selfie with a phone. Printed on an iPad case, it functions as a reminder for not forgetting to digitally archive your most precious moments.

What does this piece deal with? 

“How to (learn online)” series deals with loneliness, self-learning, and diverted transmission of knowledge, while “How to remember” specifically deals with delegation of memory, and digital archive. What you archive with your phone ends up defining you – from this selfie posted on social media to metadata collected by corporations. What you want to remember will not be erased, for those data and images to constitute a digital portrait of yourself. Seen from the outside, those archived and shared digital memories are an overview to human knowledge and logics.

What medium and techniques did you use?

Using tags, I selected stock images and outsourced drawings based from a particular illustrator. Once received, I added them to the wikiHow watermark, and then ordered the iPad cases on an online store that makes custom phone cases. In the end, everything was done from my computer.

What were the struggles of making it?

It was a pretty smooth workflow, from the selection of the images to the production of the object. 

What is the purpose behind this work?

Create an abstract situation where feelings would be analysed from an experience-less point of view. If an AI would crawl wikiHow, would it learn about empathy, would it be able to experience such a complex feeling?

Could you explain this work?

The sculpture is modelled around the data of the flash crash that hit Facebook on the 26th of July 2017. A flash crash is a term that describes the very rapid and deep fall of a security price on the financial market. It is an ultrafast anomaly that mysteriously affects the shares of a company, leading to losses and recoveries of large amount of money (ie. billions of dollars) in a matter of seconds. This particular one is said to have happened as the result of earning data reported incorrectly by Facebook, and being automatically picked and shared by Bloomberg together with the announcement that Facebook had missed its earning expectations. As a consequence, this triggered a series of automatic trades that eventually led to a large drop in the price of the company’s shares, and to the loss of $22 billion in
seconds. The data initially released by Facebook was read by algorithms, and passed over to others that traded on behalf of humans, in a fully automatic process, during which Facebook itself and its investors lost millions in just fractions of seconds
of extremely fast and complex interconnected and automated networks. The artwork features a video running on LED matrices, displaying a data visualisation of Facebook-related news, published online on the day of the crash.

What does this piece deal with? 

It focuses on our society having become slave to the same technology we created, and can no longer fully understand.

What medium and techniques did you use?

The sculpture is made out of extruded aluminium profiles arranged together and connected to LED matrices. These are managed by a micro-controller, through a custom code, and powered by a web of cables. The aluminium is of the same type, conventionally used to build temporary workspaces and structures in factories. I like to think of it in relation to the contemporary quality of labour and production of value in our society. It is also a reference to the way algorithms and automation in general, are already replacing humans in the job market, a phenomenon that will only increase in the future. The estimate is between the 35-40% of UK jobs going to be affected and/or replaced by automation, over the next 20 years. In this respect, I am very interested in what will happen next, especially with regards to the individual (in example the prospect of implementing basic income policies) and overall in trying to imagine how capitalism will be changing as a consequence of artificial intelligence technology.

What were the struggles of making it?

My artistic practice is mainly research-based; I spend lots of time reading books, papers, listening to or attending talks, on and off-line. I guess that my personal struggle is with understanding the limit between procrastination and action in artwork production. Many of my works are the result of collaborations with engineers, designers, researchers, perfume makers, data analysts, and fortune tellers. Borrowing elements from the non-linear process of Design Thinking, such as Ideating, Prototyping and Testing is helping me a lot. Concepts like ‘Just start building’, ‘don’t spend too much time’, ‘Remember what you’re testing for’, and finally ‘improve and craft” are crucial elements of the disciplines of Design and Engineering, and can also be transferred to art practice – and be used to facilitate and make a big difference in artwork production.

What is the purpose behind this work?

I like to think that the artworks I am creating are the embodiment of the conceptual process that lies behind them. They function as some sort of
representational model of the political, social and economical aspects of our society, and of the culture and values it promotes. Deep inside, my main interest is to try and gain an understanding of the way notions of faith and belief are produced and shared, across individuals and large corporate systems. The artworks in this respect function as a network of interrelated elements, a system where concepts, materials – both physical as metal, paper etc. as well as intangible, such as data – are meant to bring to life connections and meanings that would otherwise remain intangible and hidden behind the construct of our society.

Could you explain this work?

We were thinking about objects for self-protection designed for the masses. For people who are at the same time reliant on and oppressed by these worldwide enterprises; e.g. Nike, McDonald’s, Facebook.

What does this piece deal with? 

Although at face value, the images of the weapons are blatantly consumed as a critique of the social media platforms on which they are spread, as well as other companies, they inevitably function as a form of promotion that could even be mistaken as an example of astroturfing. Thus, we’re not able to truly critique these large corporations, but only point to our boredom with their ubiquity. These banal symbols define the majority of mainstream visual language. This is what we have to work with, given the type of shallow images we aim to create.

What medium and techniques did you use?

The piece is actually the viral photograph of the weapon, which was shot as if it were an ad or a sponsored post. The physical Corp Gear weapons can be thought of as a props, all of which were fabricated in New York by Brian Yudin, using various metal working techniques. The Facebook crowbar was welded out of heat-treated carbon steel and painted blue.

What were the struggles of making it?

Deciding on what types of objects to combine with the logos – some ideas were pacifiers and baby toys, tessellated military uniforms, sceptres, or analog navigation tools. We chose weapons because we are appealing to a mainstream audience, and we want viewers to feel artificially empowered, not ridiculed or anxious.

What is the purpose behind this work?

The weapons were designed in order to produce meme-like images, where they can be shared and appropriated freely to have the maximum impact. Although they are all functional weapons, I’m not sure who they could be used against, physically, besides maybe oneself. We don’t endorse stabbing Mark Parker or beating Mark Zuckerberg with a crowbar. Blue-collar crime can’t be used against a system. We’re not offering any promise to produce measurable change, only a play on protest.

Could you explain this work?

A comedic satirical sci-fi pop-musical based on the theories of Ray Kurzweil and other futurists. It’s the story of two Miami girls and how they deal with the technological singularity, as told through a series of cinematic tweets.“Premiered at Sundance Film Festival and 2013 and went on to play SXSW, NYFF, Rotterdam, New Zealand, Winterthur, AFI, and the Filmmaker Magazine Retrospective at MoMA.”

What does this piece deal with? 

Original music was written with Michael Jon Hancock, and since this is a short film, at least 30 people gave their time and love to help us make this.

What medium and techniques did you use?

Independent film is very hard because of the expensive nature of it. Also, we made this work in 2013, so it was sort of hard to explain and entertain at the same time. Some of the concepts in this film were hard to discuss with a general public at that time, but now already feel outdated. That’s why we tried to focus on the human nature and emotional response of the complications of moving forward to a more technological-infused time.

What were the struggles of making it?

Getting the colours right was the biggest struggle with this painting. The dress pattern changed a lot during the process. Also, the colour of the concrete golf structure went through quite a few changes. It was also trying to get a sense of realism, but allowing strong abstract elements to dominate the image. It was part of a series of “feet” paintings. This was the only square one, so the shape provided different challenges.

What is the purpose behind this work?

To sort out some complicated thoughts about the cloud and life. It was a companion piece to this art show.

09.07.18

Words by Martin Mayorga

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