30. Juni bis 22. Juli 2022
AI&Art Pavillion, Luxembourg
Im Rahmen der Vorlesung Critical Data der Abteilung Interface Cultures tauschten sich die Studierenden der Kunstuniversität Linz im Sommersemester 2022 der University of Luxembourg, Faculty of Science, Technology, and Medicine, Department of Computer Science aus. Sie entwickelten einerseits Arbeiten, die kritisch auf bestehende Datensets im Bereich Machine Learning blickten oder versuchten sich selbst am Aufbau solcher. Sie reflektierten andererseits gemeinsam, welche Attraktion diese Modelle, die der Künstlichen Intelligenz zugeschrieben werden, auf Menschen ausüben und loteten Faszination und Unheimlichkeit aus um unter anderem in spekulativer Art und Weise den unterschiedlichen Stimmen und Welten der Technologie nachzuspüren und Formen der Wahrnehmung (von Menschen vs. Maschinen) zu hinterfragen.
Die Studierenden wurden nach Luxemburg eingeladen, um dort nicht nur die entstandenen Arbeiten im Rahmen des AI&Art Pavilion der Kulturhauptstadt-Aktivitäten Esch2022 zu präsentieren, sondern in gemeinsamen Reflexionsrunden auch zu besprechen.
Unterstützt wurden die Studierenden von dem Philosophen Daniel Karpati, der zum Thema Ethic & AI als PhD-Kandidat an der Uni Luxembourg forscht und gemeinsam mit seinem Betreuer und Leiter des AI Pavillions Prof. Christoph Schommer sowie Prof. Leon Van der Torre, Leiter der Abteilung Computer Science and Communication und führender Forscher zum Thema Logiken in KI, diese Zusammenarbeit ermöglichte.
Die Studierenden tauschten sich im Besonderen auch mit den angehenden Computerwissenschaftler*innen Fatima Zahra and Nooshin Shojaee der Uni Luxembourg aus.
Projektleitung: Prof. Manuela Naveau
Barbara Jazbec; Interactive installation, 2022
Technical support: Žan Rajšek
Combination of AI-generated animation and video works.
“The Uncanny TV” is an interactive installation whereby browsing through TV channels the spectator is invited to discover the mystery of the ghost hidden inside the uncanny imagination of electronic media.
This installation brings a deeper personal investigation into the world of uncanniness. It is a very personal-oriented artistic research due to our very individual and unique imagination. Something that is beautiful to me can be totally horrific to you. The same goes for uncanniness. As Ernst Jentsch said: ''If one wants to come closer to the essence of the uncanny, it is better not to ask what it is, but rather to investigate how the effective excitement of the uncanny arises in psychological terms, how the psychical conditions must be constituted so that the ‘uncanny’ sensation emerges.''
Short bio: linktr.ee/barbarajazbec
Barbara Jazbec is an intermedia artist from Trbovlje, Slovenia. She completed a bachelor's degree in Media and Arts from Tampere University of Applied Sciences in Finland. Currently, she is studying at the MA program Interface Cultures in Linz, Austria. Her background is mainly working with 360-degree video and video installations. Her latest research interests are mostly focused on interactive installations. In her work she merges odd personal experiences with a sci-fi futurism and a tinge of humour. She finds beauty in strange and odd things. Barbara organizes and leads different experimental video workshops and is the curator of the international video festival DigitalBigScreen 360° in Trbovlje, Slovenia, which is running at the same time as Speculum Artium.
Kevin Blackistone, 2022
When considering the bodies of ourselves and others we are most often concerned with the visual, surface components. It’s functional interior organs are usually, at best, ignored. When one is made aware, it is most often through negative concerns of personal health. For this reason, the lack of consideration is most often a comfort. Over the past century, the medical industry has dramatically improved our ability to non-invasively represent these elements, through imagery that, in a curious reversal, obfuscates the layers to which we most aware – i.e. there is no race in a torso xray, or gender in a cranial CT.
This work attempts to build an awareness of our inner sameness through algorithmically merged layers of diverse bodily interiors, then interpolated into a 3d chimeras of the human interior - an imaginary hybrid, devoid of the characteristics frequently considered definitive of our physical selves.
Kristina Tica, 2022
generative video installation
textual experimentation, textile object
openai gpt-3, clip+vqgan
PROMPT: WAR STORIES is a project developed using GPT-3 and various pre-trained text-to-image models, through a series of text prompt inputs chosen by the author. These pre-trained models consist of quantified traces of reality and collective histories, becoming
a substance for algorithms to generate content that recycles the past. On the borderline between sensitive content and an easy slip into topics of violence, this project explores the depths of the subconscious of these models, excavating the influences of media and online information exchange. These models build the spine of quasi-historical narratives simulated by the algorithms and often obfuscated with prejudice and misinformation, along with the author’s personal bias.
Sara Koniarek, 2022
Sonder, a term coined by John König in 2012 for the dictionary of obscure sorrows, describes the realization that every passerby, every person you see in a video, in the streets or on the internet has a life as complex as your own. By nature we tend to perceive life to be centered around us, making us the main characters of our own perspective. There are different ways in our daily lives through which we get closer to grasping the complexity of the networks that connect us. It can happen on the commute to work, when overhearing someone’s conversation and purposefully listening in without further context, or scrolling through social media and getting seemingly intimate glimpses into a stranger’s life. How others perceive us and how we perceive them are very subjective processes that hold room for projecting one’s own imagination. DeepFakeSonder takes fractions of real people's conversations and speech and feeds them through GPT-3 text generators to create deep fake stories of everyday life and using these newly found realities as basis for an immersive audio experience.
Razieh Kooshki and Vahid Qaderi, 2021
«The only reality is existence»
There have always been and there will always be doubts about the reality of the world we live in. Is it real or is it just a dream, or a designed virtual space? Even if someone comes and leads us to the real world by offering the famous red pill, we can still question that world too. Is that one finally real? Or is it another designed space? And what if we design reality? What if we design a reality within a virtual reality that lies inside another virtual reality...? How many designed worlds do we need to cross to finally reach reality? In this VR project the artists designed parallel virtual spaces. Users can move in any scene and interact with some objects and sounds and move to another scene using the virtual VR headset located in each scene and discover a new world.
The project has been displayed in Interface Culture exhibition, Ars Electronica 2021, Linz, Austria and 18th Athens digital arts festival 2022, Athens, Greece.
ABOUT THE ARTIST
Razieh Kooshki is an experimental visual artist from Iran, based in Linz, Austria. She has a background in graphic design, video art and 3D animation and has contributed to video games. Her main interest and works during the past 5 years has been Interactive Visual art.
Vahid Qaderi is a composer from Iran, based in Linz, Austria. In addition to his main profession making electronic music, he has a background in 3D animation, visual art and video games.
Razieh and Vahid have been collaborating together for over 10 years in many different fields, including 3D Animation, video games, AR and VR experiences, and Audio Visual performances.
In our highly networked world, the ethical interferences of the big tech that dominates our daily lives are opaque. What might we hear if we listen to the ghosts in our machines? What kind of stories would they have to tell to us?
“Stones are Angels” is a surreptitiously participatory performance that draws attention to the mineral substratum of our ethereal technologies, by augmenting our encounter with our electronic companions in situ. Using our intra-actions as means for collective composition, we speculate on the language of stones, the unity of spiritual and material life, and our ability to communicate in anthropomorphic ways with the mineral we.
-sculptures by Sheyda Ramhormozi
-visuals by Diana Bogucka
-original circuit design by Jonáš Gruska
-photograph by Błażej Kotowski
#bio-capital #machinelistening #digitalmateriality #mediageology #sonicagency
#speculativeanimism #angelsinthemachine #environmentallistening
#electromagneticfield #sonicinteraction #audiovisual performance #soundart