Talk:Stephanie Dinkins

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declined AfC

I have looked for significant coverage by independent, reliable sources and found that the following ought to satisfy the requirements on theWP:GNG

The article has issues, but the subject is notable. Vexations (talk) 19:10, 3 May 2020 (UTC)[reply]

@RoySmith, MurielMary, and DGG: along with Vexations (talk · contribs) I have made significant improvements to this article. It clearly meets NARTIST, and is not PROMO. Following protocols, I have resubmitted, and request you review. Theredproject (talk) 13:54, 3 June 2020 (UTC)[reply]

Every one of the articles mentioned above is elmost entirely composed of material based on an interview with the artist. They are therefore not fully independent. We no longer accept such articles for organizations (see WP:NCORP) and increasingly reject them also for allied subjects. However, I recognize that some of these sources are well known publications in the arts field, and they mostly do combine some analysis by the author. I also recognize that many of our articles in the arts are based on sources that are considerably worse than these, and that the list of exhibitions is impressive. Nonetheless, she is principally known for one work. And reading the sources carefully, she is only a co-creator of the work; she did not conceive, design or construct the the robot, BINA48--Martine Rothblatt did all of that; Stephanie Dinkins' work seems to consist essentially of the videos of her own conversations with BINA48 over an extended period. This is certainly an interesting form of art, though I do not know how unique it is .

Many of the sources currently in the article are mere mentions, and the article would be greatly strengthened if they were removed,; it would also be strengthened by further rewriting to remove its original origins as trivial promotionalism, and its further development by a (declared) paid editor. It certainly did not merit acceptance when I saw it, or when the other reviewers mentioned saw it. But it does have its origin in naïve promotional editing and paid promotional editing, and it still contains POV promotional language such as "The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. (my italics). Although I am not going to send it to AfD, I would tag it as promotional. DGG ( talk ) 01:53, 4 June 2020 (UTC)[reply]

Moving list of exhibitions here for future use

Some of these are not in the list of exhibitions. It might be productive to break the exhibtions up by period and type. A number of the exhbitions predate Bina. There are a lot of AI focused exhibitions from 2017-present. And there are screenings.

Uncanny Valley, de Young Museum, San Francisco, CA (2020)^[1]
Design for Different Futures, Philadelphia Museum of Art (2020)^[2]
Not the Only One, Vancouver International Film Festival (2019)^[3]
Paradox: The Body in the Age of AI, Miller Gallery, Carnegie Mellon University, Pittsburg, PA (2019)^[1]
Have We Met? Memory and Desire in the Age of the Internet, Stamps Gallery, University of Michigan, Lansing, MI (2018)^[4]
Moving Visuals, David C Driskell Center, University of Maryland (2018)^[5]
Nine Moments for Now, The Cooper Gallery, Harvard University (2018)^[6]
Out of Body, Bitforms gallery, New York, NY (2018)^[7]
Multiply, Identify, Her, International Center of Photography, New York, NY (2018)^[8]
We Have Always Lived in the Future, Flux Factory, Queens, NY (2017)^[9]^[10]

But for now, just putting here. Theredproject (talk) 13:38, 3 June 2020 (UTC)[reply]

References

^ ^a ^b "Paradox: The Body in the Age of AI". Miller ICA. Retrieved 2020-02-21.{{cite web}}: CS1 maint: url-status (link)
^ "Philadelphia Museum of Art - Designs for Different Futures". philamuseum.org. Retrieved 2020-02-21.
^ "VIFF | Experimental AI Storyteller: Not the Only One presented by Stephanie Dinkins". viff.org. Retrieved 2020-02-21.
^ "Have We Met? Dialogues on Memory and Desire". stamps.umich.edu. Retrieved 2020-02-21.
^ "The David C. Driskell Center". driskellcenter.umd.edu. Retrieved 2020-02-21.
^ "Exhibition: Nine Moments for Now". coopergallery.fas.harvard.edu. Retrieved 2020-02-21.
^ "bitforms gallery » Out of Body: Sculpture Post-PhotographyOctober 27 – December 2, 2018". Retrieved 2020-02-21.
^ "Multiply, Identify, Her". International Center of Photography. 2018-03-07. Retrieved 2020-02-21.
^ Cite error: The named reference :0 was invoked but never defined (see the help page).
^ admin. "Major Exhibition : We Have Always Lived in the Future – Flux Factory". Retrieved 2020-02-21.

[:1-1] "Paradox: The Body in the Age of AI". Miller ICA. Retrieved 2020-02-21.{{cite web}}: CS1 maint: url-status (link)

[:5-2] "Philadelphia Museum of Art - Designs for Different Futures". philamuseum.org. Retrieved 2020-02-21.

[:6-3] "VIFF | Experimental AI Storyteller: Not the Only One presented by Stephanie Dinkins". viff.org. Retrieved 2020-02-21.

[4] "Have We Met? Dialogues on Memory and Desire". stamps.umich.edu. Retrieved 2020-02-21.

[5] "The David C. Driskell Center". driskellcenter.umd.edu. Retrieved 2020-02-21.

[6] "Exhibition: Nine Moments for Now". coopergallery.fas.harvard.edu. Retrieved 2020-02-21.

[7] "bitforms gallery » Out of Body: Sculpture Post-PhotographyOctober 27 – December 2, 2018". Retrieved 2020-02-21.

[:4-8] "Multiply, Identify, Her". International Center of Photography. 2018-03-07. Retrieved 2020-02-21.

[:0-9] Cite error: The named reference :0 was invoked but never defined (see the help page).

[10] . "Major Exhibition : We Have Always Lived in the Future – Flux Factory". Retrieved 2020-02-21.

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