Using sentic computing to analyze Twitter data, the sculpture incorporates an embedded real-time, networked multimedia system that visualizes microblogging posts expressing emotional content. Mood of the Planet creates that experience. For the Frankfurt School, the Dialectic of Enlightenment meant the recovery of our humanity, a spiritual journey from the everyday preoccupation with the self to our universality, our place in the world. Instead from moment to moment everyone’s feelings are combined and transformed into colors and music, which envelope us as we enter a portal. Streams of data are not manipulated to create hidden models for marketing and surveillance. It is an interactive physical-digital sculpture that has as its center-piece a large “arch” or “doorway” that emits colored light and sound as a form of visualization and sonification of the changing, live emotions expressed by people all around the Earth. Mood of the Planet is an art installation that deconstructs and reassembles this vision of humanity and Big Data. the primordial fear of losing one’s own name has been realized.” In the Dialectic of Enlightenment, published in 1947, stated that “Reason itself has become the mere instrument of the all-inclusive economic apparatus. The possibility that this process, the creation and manipulation of docile consumers, could lead to the impoverishment of human experience was anticipated by the scholars of the Frankfurt School. By tracking, monitoring, listening and watching individuals, marketers can target them with ongoing streams of media and advertisements. The data-driven world will be always on, always tracking, always monitoring, always listening, and always watching.” Data is sought by corporations for marketing and predictive analytics and by governments for surveillance. observe that “Mankind is on a quest to digitize the world. Ninety percent of all digital data was created in the past few years, and the global datasphere is predicted to grow from 44 zettabytes in 2020 to 175 zettabytes by 2025.
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