vision

An Artist Stares Back at the Surveillance State

Screen Shot 2017-05-27 at 4.36.16 pm

Screen Shot 2017-05-27 at 4.36.16 pm

Here is a nice little interview with Trevor Paglen talking broadly about his work, new ways of seeing, image making and machine vision.

"Multimedia artist Trevor Paglen is mapping out the new landscape of digital communications and surveillance. In this wide-ranging interview the photographer, sculptor, geographer and writer talks about how he is learning to see the historical moment we live in. Video: Gabe Johnson; Photo: Trevor Paglen" [source]

http://www.wsj.com/video/an-artist-stares-back-at-the-surveillance-state/F7C6D25A-1009-48B7-8F73-CF9EFBB164F3.html

Oskar Fischinger Raumlichtkunst (c. 1926/2012)

Images: courtesy Center for Visual Music

Three-projector HD reconstruction by the Center for Visual Music 2012 on at the Govett-Brewster

Space, light, music: A dizzying 3 screen projection of moving-image works by Oskar Fischinger (1900-1967). Unfortunately, I have been asked to remove the video so you have to take my word for it but the accompanying sound brings the works to life. It is not the original composition and in this "re-creation, the Center for Visual Music chose to use Varese's Ionisation and two versions of Double Music by John Cage and Lou Harrison" [source] – perfect! On till the 6th of August at the Govett-Brewster Art Gallery.

In 1926, abstract filmmaker Oskar Fischinger (1900-1967) began performing multiple projector cinema shows in Germany with up to five 35mm film projectors, colour filters and slides.

Fischinger wrote of his concept of Raumlichtmusik (space-light-music), believing all the arts would merge in this new art. The critics called his performances ‘Raumlichtkunst’ (space-light-art) and praised Fischinger's ‘original art vision which can only be expressed through film’. These shows represent some of the earliest attempts at cinematic immersive environments, and are a precursor to expanded cinema and 1960's light shows. [source]

[image: book cover of Oskar Fischinger (1900-1967): Experiments in Cinematic Abstractionby Cindy Keefer(Editor), Jaap Gu(Editor) Publisher: EYE Filmmuseum and Center for Visual Music; 1st edition April 1, 2013]

http://centerforvisualmusic.org/Raumlichtkunst.html

CVM_OF_BOOKcoverb
CVM_OF_BOOKcoverb

Invisible Images

(Your Pictures Are Looking at You)

http://thenewinquiry.com/essays/invisible-images-your-pictures-are-looking-at-you/

By TREVOR PAGLEN

We need to learn how to see a parallel universe composed of activations, keypoints, eigenfaces, feature transforms, classifiers, training sets, and the like. But it’s not just as simple as learning a different vocabulary. Formal concepts contain epistemological assumptions, which in turn have ethical consequences. The theoretical concepts we use to analyze visual culture are profoundly misleading when applied to the machinic landscape, producing distortions, vast blind spots, and wild misinterpretations.

We no longer look at images–images look at us. They no longer simply represent things, but actively intervene in everyday life. We must begin to understand these changes if we are to challenge the exceptional forms of power flowing through the invisible visual culture that we find ourselves enmeshed within.

 

(Research Image) “Disgust” Custom Hito Steyerl Emotion Training Set

Gestures of coincidence:

Some earlier experiements with facial detection results 1/2 : more happy than disgusted – from the corrupted self series according to microsoft.com/cognitive-services api

Hito Steyerl and me displaying outward emotional expressions of disgust 

My level of disgust seems to be far less than Hito's ability to display displeasure.