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From Spectacle to Extraction. And All Over Again.

November 2019

I met with Kate Crawford and Trevor Paglen on the press preview of their exhibition Training Humans in Milan at Osservatorio Prada. It was the morning of September 11th –not a neutral day to unthink photography and the power operations of vast populations of images. On the contrary, it was the most apt one to seriously consider Crawford and Paglen’s proposition that "images are no longer spectacle but they are in fact looking back at us, being actors in a process of massive value extraction".

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27/09/19

What do you see, YOLO9000? by Taller Estampa | Soy Cámara YOLO9000 is a trained object recognition neuronal network with a...

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27/08/19

The success of ImageNet highlighted that in the era of deep learning, data was at least as important as algorithms. Not only did...

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15/07/19

While humans pay attention to the shapes of pictured objects, deep learning computer vision algorithms routinely latch on to the...

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05/06/19

This labelling job has made me very observant. I have found pictures that made me think “if I had taken such a picture, then I...

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29/05/19

Fortunately we are smart people and have found a way out of this predicament. Instead of relying on algorithms, which we can be...

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15/04/19

Layers of Abstraction: A Pixel at the Heart of Identity Shinji Toya and Murad Khan, 2019 This project centres around a...

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A cold draught in a hot medium

February 2019

"Images now published on social media are valorised in terms of distribution and quantifiable interactions, particularly when triangulated with data about a user’s online purchases or social media behaviour. This process shapes visual representations of human identities into ‘data images’ outside the control of the person the data originates from. These identity images, or profiles, are bought and sold without our knowing, and provide more insight into our behaviour and motivations than we perhaps have ourselves"...

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Generative Representation

December 2018

For the past six years Heather Dewey-Hagborg has been researching, writing and producing artwork engaging the methodology of ‘forensic DNA phenotyping’. In this essay, she explores a different aspect of this technology and questions: is forensic DNA phenotyping a photographic process?

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