What would it mean to collectively image, and in doing so, reimagine the planet? On the first day of the COP26 climate conference in Glasgow, a network of people operating DIY satellite ground stations around the world will capture a collective snapshot of the Earth and its weather systems: a ‘nowcast’ for an undecided future.
Careful Networks is a project initiated by Phoenix in partnership with BOM, Furtherfield, The Photographers' Gallery, QUAD and Vivid Projects. This project follows the principles of coding to care and coding carefully from the Distributed Web of Care initiative. Each work is hosted by one of the twelve other participating artists. The network exists through a collaborative act of care and stewardship; visitors are invited to participate.
Joana Moll and Marloes de Valk discuss Joana’s new project 4004, exhibited online and on the Gallery’s Media Wall until the 14th of October 2021. Digging into the infrastructures which are at the heart of today’s digital technology, they discuss the role of artists and the art world in the transition to a less polluting society.
This publication aims to playfully explore the potential of fiction to create a wide range of responses to real and imagined networks. Each of the works that you will receive on your mailbox has been created through a collaborative human-machine process. Over two weeks you will receive 11 flash fictions to your email address. Some stories will be sent in just one email, others over a few. At the end of the publication you will receive a colophon email with further information on all the contributors, both human and automated. You will always be able to stop receiving the emails and once the publication is over, your contact details won't be reused.
4004 creates a link between the explosion of techno-capitalism, the acceleration of climate change and resulting decline of essential ecosystems. The title, 4004, is the name of the first commercial microprocessor created for the Intel Corporation in 1971. Joana Moll aims to establish a connection between the exponential growth of the microprocessor and the decline in both number and diversity of species – in particular insects. Over the duration of the exhibition, the insects were gradually and generatively superseded by microprocessors reflecting not only on the slow decimation of ecologies, but also the difficulty of visibly representing climate change. A gallery of screen captures documents the online exhibition.
Alan Warburton - FGBFAQ 2020 https://alanwarburton.co.uk/rgbfaq Synthetic data is increasingly sought after as a ’clean’...
What is allowed to be online, stay online and spread online? And, who decides what is harmful, and when that content should be removed? This expanded documentary project by Caroline Sinders explores harmful content, conspiracy theories, and hate videos on YouTube.
As Tamiko Thiel’s work Lend Me Your Face! is shown on The Photographers' Gallery website –waiting for the gallery's reopening for it to be shown on the Media Wall, she talks with curator Prof. Sarah Cook about deepfakes, identity and user agency across a brief history of participatory networked art projects, political incitement, and how we all instinctively react to facial expressions.
Go Fake Yourself! uses deepfake artificial intelligence technology to animate single photos of faces with facial expressions and body language "borrowed" from driving videos of public figures. With deepfake AI technology, the face - the most intimate and yet public part of the self - and the emotions it expresses can more and more easily be manipulated and placed in contexts out of the control of the "lenders" of the faces themselves. Upload a photo of your face to generate 4 private deepfakes. Part of 'Imagin(in)g Networks' programme.
Javier Lloret Pardo - Annotators View Image Annotators constitute the hidden labour of AI vision. The current ubiquitous...
I proposed what would become Lacework in the Summer of 2019. In my proposal, I describe a cycle of videos curated from MIT's 'Moments In Time' dataset, each then slowed down, interpolated, and upscaled immensely into imagined detail, one flowing into another like a river...
I write this from my small New York apartment in my fourth month of isolation. The pandemic has required each of us to slow down and do less, and I keep thinking of a childhood friend who once told me, “We’re human beings, not human doings”. Even as a teenager, I knew this was an important paradigm shift: it meant that we could rethink how we define ourselves beyond endless production and consumption. Allowing oneself to be a human being seemed to resist the gig economy, workerism, the idea of “a calling”— all the ways that society has been structured to combine a person’s work into their core identity. The way busyness became a humblebrag. Human doings.