Veronika Romhany

V E R O N i K A
R O M H á N Y

Depending on how we want to organize, filter and extract the data we rely on, we create design choices: design choices of our own constructed world that we let other people to discover - always according to our own set of rules.

“ ...limited set of subpopulations can continue to easily add data, sharing their thoughts and developing platforms that are inclusive of their worldviews; this systemic pattern in turn worsens diversity and inclusion within Internet-based communication, creating a feedback loop that lessens the impact of data from underrepresented populations.” Bender, E. M., Gebru, T., McMillan-Major, A., & Mitchell, M. (2021). On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? FAccT'21, 610-623.

WIP Web with actual stream of thoughts and research interests running on the top of a (motion-sampled) digital twin

“This is an approximation of how society, through a filter of average internet garbage, sees me”(Steyerl, 2023)

“...generative tools and their phantasmal and hallucinatory domain” (Paglen, 2024)

no-neutrality

“This is an approximation of how society, through a filter of average internet garbage, sees me”(Steyerl, 2023)

“...limited set of subpopulations can continue to easily add data, sharing their thoughts and developing platforms that are inclusive of their worldviews; this systemic pattern in turn worsens diversity and inclusion within Internet-based communication, creating a feedback loop that lessens the impact of data from underrepresented populations.” Bender, E. M., Gebru, T., McMillan-Major, A., & Mitchell, M. (2021). On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? FAccT'21, 610-623.

E M A I L M E .
P R E V I O U S _ P R O J E C T S

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StyleGAN 1-2-3 ; Vidnoz 1 ; PolloAI; KlingAI; Vidnoz 2-3; (2023-24-25)

The problem of Identity

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R. often uses screen recordings of performative software-testing to treat creation as ‘performance’(Please, Do Not Touch, 2018); explanatory videos (Footnote, 2023, and Der Bau: White Heaven, 2020) or interactive narration for deceptive storytelling (Sensing Chamber, 2023 or Denkraum, 2024). R. examines how digital tools and interfaces can control interactions and self-expression: our ways to access (and to create new) knowledge in the algorithmic era. These projects –mostly with a dystopic setting– highlight these sociopolitical (and historically colonial, biased) dependencies built into the digital tools.

The sarcastic, dark‑toned works aim to encourage specifically self‑critical thinking: reflection on the procedural and persuasive influence of technology on identity production, whether at the level of personal or collective knowledge.

Moreover, R. uses the theme of self-actualization through storytelling as a feminist and critical approach while analysing the limits of ‘sharing and understanding’ in this multidisciplinary context. R. follows the argument that while interfaces are becoming more and more personalized, this customization is very often external and therefore controlling(Foster,2022) –and it brings the danger of losing our capabilities of objective judgement and self-positioning by filtering out the ‘less likely’ of our digital perception.