2024, Video with Sound, 3:55 min
Text passages from a dream diary were visualized using AI. This was translated by Bachmann into a watercolor, which in turn was used as the initial image for an AI morphing sequence.
From the cooperation project Reminiscence & Echo Chamber.
A drawing by Bachmann, inspired by a still from RE02-In the Mood, is the initial image for this video. The AI’s association with visualizing an underwater scene was taken up here and developed further in moving images.
From the cooperation project Reminiscence & Echo Chamber.
This video is the second output of the dialog between traditional media and artificial intelligence. Under controlled experimental conditions, a still from an AI-generated video was repeatedly animated with the help of AI. The different “levels of aggression” that were attributed to the “person” by the AI and manifested themselves in corresponding movements were interesting. The movement studies are accompanied acoustically by variations of Glen Miller’s In the Mood.
2024, video with sound, 2:17 min
From the cooperation project Reminiscence & Echo Chamber.
A text-to-image AI or image-to-image AI is “fed” with images/terms to visualize surreal scenes. These outputs serve as the basis for further processing with a traditional medium (e.g. drawing or painting) and / or are translated into moving scenes with the help of other AI tools. These in turn serve as the initial image for further processing with AI, painting or drawing, and so on.
Like an echo, the various media relate to each other in terms of content and time, and at the same time symbolize the idea of the echo chamber. The time factor is a key element in this respect, also because each medium has its own tempo: painting as a “slow” medium versus AI, which generates an image in a matter of seconds. This interplay is documented as a process and further developed in various directions with an open outcome.
This video is the first in this series. It shows an initial image of an oil painting by Silke Bachmann, which was visually developed further with the help of AI.
2024, Video with Sound, 4:28 min
From the cooperation project Reminiscence & Echo Chamber.
“A long journey through the shapeless and bubbling matter, touching the void in the area of zero.” Tadeusz Kantor
Explanation of the variables:
P(F): Probability of forgetting. This lies between 0 and 1
M: Memory strength. It describes how well the information is anchored in the memory. A high value for M reduces the probability of forgetting.
R: Relevance. The more relevant information is, the more it is remembered and the less likely it is to be forgotten.
P: Perception. Describes the intensity with which the information is absorbed. A high intensity of perception reduces forgetting.
SM: Mental State. This value influences the ability to perceive and retain information. A high value means a stable mental state and reduces forgetting.
t: Time – Time. The probability of forgetting increases with increasing time.
Interpretation:
This formula is based on an exponential decay model, similar to the model of radioactive decay or other forms of memory loss over time. When memory strength, relevance, perception and psychological state are all high, the value in the exponent is very large, and P of F approaches 0, which means that the probability of forgetting is low. However, as time t increases, the exponent becomes smaller, bringing P(F) closer to 1 – forgetting becomes more likely.
2024, Video with sound, trailer 1:59 min
Forces of nature mingle with landmarks of civilization and do not depict glorified places of longing. In the frenzy of speed, the moment evaporates and yet always returns – like the seasons.
All the videos are looped – without beginning or end, and seemingly endless – like the return of the seasons or the collective murmuring of a rosary.
Following on from the romantic landscapes of the 19th century, this video cycle in 4 parts shows landscapes of the 21st century, oscillating between real and artificial.
Spring, 3:21 min — Spring is dawning, but nature has not yet awoken – bare trees pass by. Here and there a car. Memories echo in the distance.
Autumn, 3:11 min — Rain pattering on a window. The landscape behind it seems strangely alive. Is it breathing? Is it raging? A harbinger of imminent death – in winter!
Summer, 4:24 min — A sandstorm bathes the passing landscape in warm yellow. Beautiful and terrible. Terribly beautiful.
Winter, 10 min — “Home” passes by. Will it come again? The monotonous rolling noise on the old railroad tracks makes you sleepy, and a white oblivion covers your thoughts.
The apple was and is highly symbolic in many cultures: be it as a symbol of eternal youth, eternal life, love, fertility, paradise and the fall of mankind.
In this installation, a golden apple floats in the air like a fixed star. Familiar places are reflected on its shiny surface (in the Bärenkeller district of Augsburg). How are people doing there and in the world?
In contrast, the two-dimensional portraits in this landscape appear strange. Who are these people? The Holy Family? Our neighbours? They never existed, but are the outputs of an artificial intelligence. We live in a time of upheaval. New technologies give us the feeling that we are increasingly losing control over truth and lies, over good and evil. Is this paradise on earth?
The apple hides a secret inside, because there is a small star made up of 5 seeds. It reminds us that our actions determine whether we come a little closer to “paradise on earth”.
This work refers to the island of Avalon (Gallo-Indo-Germanic abal = apple) from Celtic mythology, which was regarded as “paradise”.
In an undefined space and unknown time, we circle around two faceless avatars with a golden apple in the middle. All striving seems to be directed towards this apple, which nevertheless remains out of reach for everyone in the end.
“We all carry a dead child within us.“ Christian Boldtanski quotes Tadeusz Kantor
An abandoned house*. The rooms bear witness to the fact that people once lived here. Reality and fiction, present and past merge here. We wander through the rooms like in a nightmare and are repeatedly confronted with an old class photo. On the back of the real-life photo is written: “Class of 1911”. Who were these people? Does anyone still remember them? I lend them my eyes and bring them back to life post mortem. An artificial liveliness.
I (Erika) sit in the middle of these children as a link between yesterday and today and think aloud about the fear of disappearing.
