MyHeritage Deep Nostalgia™, deep learning technology to animate the faces in still family photos - MyHeritage
This is part two of a conversation between Nestor Siré and Marloes de Valk. In part one Nestor introduced himself, his artistic practice and his personal history with Cuba’s alternative networks, from book rental shops to El Paquete Semanal and SNET, the country-wide Wi-Fi mesh network run by gamers. In part two they talk about visual culture on SNET, as well as the social and physical aspect of digital networks.
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.
This article is an overview of the projects 'Epic Handwashing in a Time of Lost Narratives' and 'A Kitchen of One's Own' weaving a thread between the technical and the conceptual: the projects are linked historically by the writing and arguments put forth by Virginia Woolf, technologically by computational juxtapositions of text and image, as well as poetically in the viewer’s experience through a speculative remix.
The artist and designer Tobias Revell has been invited by The Photographers' Gallery digital programme to curate a strand for Unthinking Photography on the theme of photography, rendering and CGI and their effect in architecture and the built environment. In this text the curator of the series introduces the topic through a short history of image manipulation and the emergence of CGI technologies.
A 3D model depicting a hooded prisoner from Abu Ghraib, was the starting point for a discussion between the artist Alan Warburton and the art historian and curator Julian Stallabrass.