From going to a library or museum, to visiting a concert, the Texas Medical Association created a graphic to assess the scale of risk, on a scale of one to 10.
But what will happen to our personal data when we give up the (digital) ghost? Research from Oxford University suggests a curious change.
On February 13, Artsy’s chief technology officer warned account holders of a “data security incident.”
For the 1900 Exposition Universelle in Paris, African American activist and sociologist W. E. B. Du Bois led the creation of over 60 charts, graphs, and maps that visualized data on the state of black life.
A new project is giving slave burial grounds in the United States something they’ve long been deprived of: visibility.
The amount of data in the digital universe — including vast collections of computer files, historic archives, movies, photo collections, and other digital information stored on devices worldwide — is expected to hit 44 trillion gigabytes by 2020.
For Owen Mundy, the internet’s love of cats is a gateway to recognizing the huge amounts of personal data we share publicly on social media.
Unless you notice the little plaque marking it as art, you might easily miss Aram Bartholl’s newest work, which debuts on Sunday and blends seamlessly into its surroundings in the wilderness of Germany.
Welcome to 2016. Mark Zuckerberg has stolen our data, fleeing Facebook’s offices in Menlo Park with a mysterious, “charismatic hustler” known as Maurice Carbonneau.
The constant data collection on our lives, from iPhone usage to subway card swipes, transforms through Laurie Frick’s art into portraiture.
How do you determine the success of an exhibition — by the number of visitors, the tenor of their reactions, or some other gauge? That’s the question Maria Novozhilova tackles in her assessment of the 14th Venice Architecture Biennale, which ended late last month.