DP-1 playlist, version 1.1.0. 13 items: Morehshin Allahyari, Sara Bezovšek, Émilie Brout & Maxime Marion, Anna Carreras, Petra Cortright, Francoise Gamma, Theodoros Giannakis, Kamilia Kard, Jonas Lund, Lev Manovich, Petros Moris, Katja Novitskova, Jon Rafman.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to play this playlist, or copy the link and open it there.
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"description": "“Patterns of Activation (gardens of the galaxy)” is a GIF assemblage of images from various datasets the artist indexed on a citizen science platform, where volunteers are asked to index, draw on, and categorize images from various datasets, usually with the goal of training image processing AI algorithms. The images Novitskova worked on mostly include wildlife cam photos, astronomy, snail embryos, and monkey blood cells. If the overabundance of instrumental, machine-readable images may cheapen any meaning or aesthetic value, Novitskova actively digs some poetry out of these datasets. Such poetry comes from a combination of technology and the reality that it attempts to capture: glowing eyes of animals that reflect the flash-light of the camera, digital low resolution artifacts, accidentally stunning compositions of galaxies and forests, etc. The GIFs mechanical speed is faster than the usual human perception—it is functional to the machine gaze, but in itself it creates a new type of poetic image, too.",
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{
"id": "c1d35cd3-cea6-4567-ad6a-dec297991d82",
"title": "ᖴᗩᑕIᗩᒪᔕ I",
"source": "https://cdn.artworks.feralfile.io/previews/79cb077a-355b-4694-a787-f023abf070de/1639451952/preview.mp4",
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"provenance": {
"type": "onChain",
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"chain": "evm",
"standard": "erc721",
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"metadata": {
"title": "ᖴᗩᑕIᗩᒪᔕ I",
"artists": [
{
"name": "Jon Rafman",
"id": "a88314ff-7a42-4639-9787-8900b1681a0a",
"url": "https://feralfile.com/artists/jon-rafman-fjh"
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],
"description": "To create a complete 360° representation of a real human figure, visual effects companies utilize 3D imaging technology. One can then unwrap the scanned texture into a 2D plane, much like a world map. In ᖴᗩᑕIᗩᒪᔕ I, Jon Rafman alters a selection of these unwrapped head textures and animates the transformation in the style of VFX breakdown reels, typically used to showcase the special effects in movies and games. The result is a jarring conglomeration of characters, a carnivalesque cast of commodities. Rafman's work is the reverse of anthropomorphism: ᖴᗩᑕIᗩᒪᔕ represent the reified experience of the self and others as mere objects and images. Rafman states that these custom textures will evolve into wearable skins designed for 3D avatars, which, in turn, may eventually be purchased and used to inhabit the various metaverses. In a world where most of one's time is spent in online worlds, avatars become increasingly crucial to constructing our identities. The dividing line between our real and virtual bodies has already blurred. As we spend more of our existence in front of a screen, our web personas become more significant to who we are than our physical bodies. When one wears a mask long enough, it is absorbed into one’s character.",
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"curators": [
{
"name": "Domenico Quaranta",
"key": "did:pkh:eip155:1:0x11731586c573Bc263De405603793Ef48F974830F",
"url": "https://feralfile.com/curators/domenico-quaranta-uqt"
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],
"summary": "“Over the last decade or so...human visual culture has become a special case of vision, an exception to the rule. The overwhelming majority of images are now made by machines for other machines, with humans rarely in the loop,”1 artist Trevor Paglen wrote in 2016. Paglen’s statement doesn’t apply just to machine vision imagery and datasets: any born-digital or digitized image may or may not be seen by human eyes, but would always be seen by a number of machines— the device taking it, the computer we use to archive or edit it, the server where we upload it, and the number of algorithms active at any of these levels.",
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