Abstract (Short paper)

Keywords: Call-centre, automation, IVR, recursive, war games, glitch, ostrich, cold war.

The scenarios of computer science suggest the potential for an ‘Ostrich Algorithm’: a strategy of wilfully ignoring potential problems on the basis that the likelihood of their occurrence would be so rare as to negate planning for them. The paper focuses on the art installation, The Ostrich Effect by David Cotterrell. The work is a generative installation that explores the recursive loops that might occur in hypothetical scenarios. Built using commercial automated call centre servers programed to dial and trigger each other, The Ostrich Effect is a generative installation that establishes a computer-based conversation, which will never be resolved. The call centres continuously negotiate with each other to sell their products, handle complaints, solicit customer feedback and broadcast government warnings. With systems attempting to recognise each other’s responses, a perpetual loop of questions, diversions and holding patterns ensures that calls will neither achieve their assigned tasks nor fully accept the futility of their method. This paper considers the role of error in heightening awareness of familiar systems, explores the idea of the Ostrich Effect within a contemporary political and technological context and seeks to contextualise Cotterrell’s artwork within popular film and science fiction references.

• David Cotterrell is an installation artist working across diverse media and technologies. His practice is typified by an interest in intersection: whether fleeting encounter or heavily orchestrated event, His works explore the human condition and the breaks or nuances that can lead to a less ambiguous understanding of the world they inhabit. Encapsulating the roles of programmer, producer and director, His practice has considered the limitations and potential of representations of complex data considering human behaviour through micro-simulation, macro-planning and mediated representation. Cotterrell’s work has been  commissioned and shown extensively in Europe, the United States and Asia. He is Professor of Fine Art at Sheffield Hallam University, UK,  and is represented by Danielle Arnaud.
• Jordan Kaplan, UK,  is a freelance curator, writer and project manager specialising in the curation of public realm and context specific artwork. Jordan is a founding member of Parabola, a commissioning and curatorial body dedicated to the production of  contemporary  art and critical debate. Since 2003, Parabola has commissioned over 200 artists to develop new work for projects with the Royal Geographical Society, the Natural History Museum, The Garden Museum, Tatton Park Biennial and the Queen Elizabeth Olympic Park. She has more than ten years’ experience working as a visiting lecturer at the University of Hertfordshire and City University. Jordan holds an MA in Art Criticism from City University, is a Fellow of the RSA and a member of the International Association of Art Critics (AICA).

Full Text (PDF) p. 574-577